I 




d*****, 7h ^i c - ( ^^J 



MEMORIES OF THE PROFESSIONAL 

AND SOCIAL LIFE OF JOHN E. 

OWENS, BY HIS WIFE 




SV i 



JOHN MURPHY AND COMPANY 
BALTIMORE - MDCCCXCII 



Copy X 



Copyright, 1892, by John Murphy & Co. 



PREFACE 



To my husband's memory I dedicate this volume, with 
the earnest wish that the gift of eloquence had been mine, 
empowering me to render a more worthy tribute to a well- 
spent life. 

The incentive which led me to write the book is fully 
designated by its title — " Memories." These imprints of 
happier days, ever present with me, have sometimes been 
voiced to our friends ; and, observing how heartily they wel- 
comed and enjoyed anecdote or incident of him they knew 
so well, and the enthusiasm with which his dramatic genius 
and fame was spoken of, I gradually became impressed with 
the desire to arrange in readable form the record of my 
husband's theatrical experience, and combine with it little 
events of every-day life. Of all this, as his constant com- 
panion, I had thorough knowledge, even though my ability 
to convey it may have proved insufficient. I fully realize that 
in more competent hands a biography of John E. Owens 
would have been brilliantly written and ranked as a finished 
literary work. I am not so .presumptuous as to aspire to 
that standard. It has been a pleasure to me to (mentally) 
go step by step over the months and years we lived together ; 

iii 



IV PEEFACE. 

and if my readers will indulgently regard that which I have 
transcribed as something I might have talked to them about 
in my own home circle, they will recognize the intent of my 
true position. In so doing, their thoughts may, perhaps, 
dwell more upon the spirit in which my book is written than 
the manner in which it is rendered. On this possibility I 
rest my hope, that happily I shall receive lenient criticism. 

Baltimore, Md., December 7th, 1892. 



CONTENTS. 



CHAPTER I. 

PAGE. 

Birth of John E. Owens — School days — First theatrical engagement 
— W. E. Burton — Astronomical lectures — Season in Baltimore 
— Mrs. John Drew — Debut in New Orleans, .... 1 

CHAPTER II. 

Visit to relatives in England — Engagement in Philadelphia — 
"Jakey" — Italian Opera — A psychologist — Purchases Balti- 
more Museum — Uriah Heep a hit in New York, ... 30 

CHAPTER III. 

Ascent of Mont Blanc — Engaging David Garrick — Aigburth Vale 
— Dramatic portraits — Dion Boucicault — "The schoolmaster 
abroad," 59 

CHAPTER IV. 

A lesson in French — "Solon Shingle" — "Self" — H. L. Bateman 
— Debut in Boston — "Caleb Plummer" — Mrs. John Wood — 
Origin of the popularity of " Dixie's Land," .... 80 

CHAPTER V. 

New Orleans season 1860-61 — Obtaining a substitute — Witty 
repartee — A lover of Shakespeare — Reception of Solon Shingle 
in New York — Constant Meyer's picture, .... 112 

CHAPTER VI. 

Adelphi Theatre, London — Appreciative public— Liverpool engage- 
ment — Re-appearance in New York — patented " cow -milker " 
— Owens " the farmer " — Visit to a circus, .... 132 



VI CONTENTS. 

CHAPTER VII. 

PAGE. 

Sea voyage to San Francisco— Lawrence Barrett—" Grimaldi" — 
Tour of mining towns — Foss — Salt Lake City — " War prices 
out of date " — A mulberry story, 161 

CHAPTER VIII. 

Inauguration of an Opera House — "Owens' Ride" — Montreal — 
J. W. Albaugh — An English gardener — Country vs. City — 
"A man skilled in fence " — "Paul Pry " — Louisville — " I play 
this for low," 185 

CHAPTER IX. 

Comic sequence of weighing baggage — A boy's letter — The bond 
of masonry — A big chandelier — "Timothy Toodles" — Journey- 
ing in an ox-cart — A gentle Alsacian priest, .... 206 

CHAPTER X. 

New Orleans season of 1874-75 — Political excitement — Towson- 
town — "Where is it?" — Purchase of Academy of Music, 
Charleston, S. C. — Perkyn Middlewick— A telegram — Dr. 
Peter Pangloss, LL. D. and A. S. S., 231 

CHAPTER XL 

"De Captain's butter" — "The Serious Family" — Departure for 
Australia — San Francisco en route — A mining investment — 
Return east— Season 1881-82, with John T. Ford, . . .257 

CHAPTER XII. 

"Esmeralda" — Entertaining friends at Aigburth Vale — The Pick- 
wick Club — Brilliant performance at Harlem Theatre — "A 
golden set" — Winter in Charleston, S. C. — Will. T. Keogh — 
Illness — Rescue — Earthquake — Effects of exertion and agita- 
tion — Suffering — Peaceful and final sleep, .... 275 



ILLUSTRATIONS 



PAGE. 

John E. Owens, Frontispiece. 

Mrs. John E. Owens, 4 

William E. Burton, Comedian, 10 

Jakey, in " A Glance at Philadelphia, " 40 

Aigburth Vale in 1853, 66 

Aigburth Vale in 1868, 70 

Solon Shingle, from a painting by A. Cross, . ■ . . .84 

John Unit, in "Self," 90 

Major Wellington DeBoots, in "Everybody's Friend, . . 102 

Caleb Plummer, in " The Cricket on the Hearth" . . . 108 

Launcelot Gobbo, in " The Merchant of Venice" . . . 122 
Solon Shingle, from a painting by Constant Meyer, . .128 

Frank Oatland, in " A Cure for the Heartache," . . . 144 

Dr. Ollapod, in " The Poor Gentleman," 164 

Paul Pry, 202 

Joshua Butterby, in " Victims," 218 

Owens' Academy of Music, Charleston, S. C, 240 

Perkyn Middle wick, in " Our Boys," 244 

Dr. Peter Pangloss, in " The Heir at Law," . . . . 256 

Elbert Kogers, in " Esmeralda," 278 

Hezekiah Perkins, in " Cooke's Corners" (Act I.) . . 280 

Hezekiah Perkins, in " Cooke's Corners." (Act II.) . . 282 

vii 



MEMORIES OF JOHN E. OWENS. 



CHAPTER I. 



Birth of John E. Owens — English and Welsh ancestors— School days 
in Philadelphia — Early indications of dramatic talent — Read- 
ing play -books — Owens hopelessly stage-struck — He meets a 
kindred spirit — Hamlet with comic denouement — First visit to 
a theatre — Supernumerary at the National Theatre — "speaking 
parts" — Eelinquishes theatrical hopes — William E. Burton — En- 
couraging advice — Return to the stage — Pronounced hit — Alexina 
Fisher— Mr. and Mrs. D. P. Bowers — " I am so confoundedly 
young " — Astronomical lecture — Transient prosperity — A stampede 
1844-45 — Season with Peale at Baltimore Museum — Mary Gannon 
— Mrs. Russell (Mrs. John Hoey) — Wallack — Booth — Mrs. John 
Drew — Charlotte Cushman — "A bear on the Roof!" — Consequences ! 
Season of 1846-47, with Ludlow & Smith— Debut at New Orleans 
— The pill box dressing case. 

YT7HE professional life of an artist belongs to the public. 
They have a right to discuss and pronounce upon 
its merits and demerits, however unknown to them may 
be his personal career. Having, by talent and devotion 
to his art, achieved fame and position, he invokes 
deserved admiration; but when in addition to this, he 
1 



Z MEMOEIES OF 

entwines himself abont the hearts of people by geniality, 
integrity, and kind deeds, there is a bond between the 
artist and the public, rendering a natural sequence that 
whatever concerns their favorite, will be received with in- 
terest. Under this impression I submit my " memories " 
of a life, whose brilliant histrionic record was only 
equalled by the goodness and sympathetic tenderness 
known best to friends in every-day life. 

Many of the incidents I shall narrate are personal 
recollections of my own. Others have been gathered 
from friends and acquaintances. All are authentic and 
reliable, which I hope will entitle them to attention, 
even though I am well aware that an abler pen than 
mine is required to do justice to the work I have 
undertaken. 

I do not make the faintest claim to literary merit ; on 
the contrary, I deprecate the criticism that would meet 
my reminiscences on the plane of authorship. 

I simply desire to speak of my husband's career and 
associations, and trust that for his sake I may obtain 
indulgent hearing. 

John Edmond Owens was born in Liverpool, England, 
April 2d, 1823. 

His father, the son of ap Griffith Owen, of Nant, and 
Annie, his wife, was christened Owen Griffith Owen ; 
but on arriving at manhood added a final s to his last 
name, for euphony. The family resided at Aberdaron, 



JOHN E. OWENS. 3 

in the county of Carnarvon, North Wales, until 1809, 
when they removed to Liverpool ; Owen G. Owen was 
ten years old when he left his native place. Eight 
years afterwards, he met with John Anderton, a prom- 
inent organ builder; the acquaintance ripening into 
friendship resulted in an introduction to the home circle 
of the Andertons. They were all musical people ; some 
of them having attained conspicuous proficiency as 
amateurs. Many pleasant hours were passed there ; 
but gradually the strong attraction to the house for 
Owen, concentrated in the eldest daughter, Mary An- 
derton, whose beauty and sweetness of disposition ren- 
dered her very loveable. After a somewhat prolonged 
courtship they were married. Their first-born child 
was John E. Owens, destined to render famous the 
name he bore. 

During the summer of 1828, Owen G. Owens decided 
to make a home in America for himself and family. 
They left Liverpool in a sailing vessel, and after eight 
weeks voyage landed in Philadelphia. Several relatives 
had already taken up their residence in that city. Among 
them, the mother of Owen G. Owens, who, though she 
had acquired the English language, still spoke in her 
native tongue to those who understood it. She became 
prominent and useful in Welsh Societies, and often acted 
as interpreter to those newly arrived from Wales. Her 
children and grandchildren being much with the old 



4 MEMORIES OP 

lady, were familiar with the language; and all his 
life, John Owens would now and again at home use a 
Welsh word or sentence with perfect accent. 

On the maternal side, John's people were English ; 
some of them being clergymen in the Episcopal church, 
of which they were all members. His father became 
a naturalized citizen of America shortly after arriving 
here. 

As soon as the family were settled in their new home, 
John's education was looked to. He had the advantage 
of the best schools in Philadelphia, and at an early age 
gave evidence of aptness for intelligent study. Not 
content with simply memorizing his lessons, he was 
always eager to propound questions with a view to 
deeper insight and clearer knowledge of the subject. 
On composition and "recitation days" especially he 
was a favorite scholar. While still a little chap, his 
teacher would place in his hand a cane, and putting spec- 
tacles on his nose have him recite "Pity the sorrows 
of a poor old man," — or rather ad it — for this he did 
intuitively. Quick of memory, and fond of reciting, 
the home circle was not free from the boy's bent of 
" speaking pieces " — apropos of which, on one occasion, 
the baby sister was given to him to hold. Proud of 
the trust reposed, he kept her tightly clasped, until, 
through his mind began to run the lines of "Young 
Norval," to which he immediately gave voice — safely 



/ 



' 



C:s 




1 

9 



' ; ; ;-■! 





crvtAJ/ 



<==fcf/jL&$> 



>f?~e+<M , 



JOHN E. OWENS. 5 

enough till the words — "Rushed like a torrent down 
the vale ; " impelled him to suit the action to the word, 
and throw out both arms; when down tumbled the 
baby sister, whose cries brought John to his senses 
and his mother to the rescue. Fortunately, no injury 
beyond fright was sustained. 

As he advanced in boyhood, his taste for reading and 
study increased, but not to the extent of becoming a 
bookworm. Gifted with a retentive mind, so great w T as 
the impression made thereon by his studies, that he 
could render full justice to them, and yet have leisure 
for enjoyment of boating, gunning, and like sports to 
which athletic youths incline. Replete with health and 
joyous spirits, and lovingly tender-hearted to those at 
home, he was as the good mother often said, "the 
sunshine of the house." 

When about fourteen years old, he chanced to come 
into possession of two play-books — " Richard the 
Third," and a The Spectre Bridegroom." He read, 
and re-read them, not only at home, but they were 
smuggled into school. Masking them under cover of 
a study book, he regaled himself by stealth. This 
went on unsuspected for awhile, but one day the 
schoolmaster surprised the deception, and wresting the 
play-books from young John, severely remarked : "I 
will settle with you about this, later on." Deprived of 
his limited, but sole dramatic literature, under the dis- 



b MEMOEIES OF 

pleasure of Gray, the schoolmaster, of whom he was 
realty fond, the lad was very unhappy. Deeply 
chagrined, he awaited the expected reprimand and 
punishment. 

Several days elapsed, and then Gray called him 
aside and returned the books with a mild rebuke for 
reading them in school; adding, after a pause — "If 
you have any more play-books, my boy, lend them 
to me." Thus, the dreaded scolding was not only 
averted, but the schoolmaster and his pupil became 
great chums. 

Years afterwards, while playing a star engagement in 
Pittsburg, he unexpectedly met his former teacher ; now 
a very old man, and in poverty. Pleased at the ren- 
contre, which brought back the memory of his boyhood, 
he prevailed upon Gray to adjourn with him to a res- 
taurant, where they had a delightful talk over a good 
dinner and a bottle of wine. Invigorated in mind and 
body, the old gentleman's depression vanished, and he 
was for the nonce happy. Regarding Owens proudly, 
he exclaimed, " Ah ! my boy, your professional success 
is founded on our reading play-books together. I fos- 
tered the bent of your taste — and see the result ! " He 
witnessed the performance at night, and was yet more 
enthused. Waiting at the stage door to say "good- 
bye," he quite broke down in expressing gratitude 
for the brightness which Owens had brought into his 



JOHN E. OWENS. 7 

life, so long an experience of gloom. They met no 
more, but Gray was always remembered so long as 
he lived. 

Strongly attracted to theatrical life, Owens yet deemed 
it almost unattainable, as no source however remote, 
seemed open to him to form the acquaintance of any one 
connected with a theatre. Despairing of this, his next 
choice of a future was "going to sea" — the outcome of 
reading Capt. Cook's voyages, and similar books, that 
inspire such taste in boys of brave and adventurous 
nature. He made known this desire to his father, 
requesting that a position as cabin boy be obtained 
for him. Both parents gave a decided negative to this 
request. The father inclined to the medical profession 
for his son ; and to further this intention placed him 
with Dr. Samuel Jackson, druggist, Tenth Street, Phila- 
delphia. 

In the same store was a very bright youth, named 
James Woodhouse, somewhat John's senior. Soon they 
discovered to their delight, that they had a mutual taste 
— I may say longing. Each desired to become an actor. 
Much "spouting" went on in that store during the 
proprietor's absence, for Woodhouse was the fortunate 
owner of many play-books. One day they were essay- 
ing a portion of the fifth act of Hamlet. Woodhouse 
personating Laertes, and Owens, with a table cover 
draped over him for a cloak, striving to look melan- 



8 MEMOEIES OF 

choly, as Hamlet. All went on to their satisfaction, 
until the " divine afflatus " reached a climax and Owens, 
with much gesticulation, throwing aside the " inky cloak " 
— gave the lines "This is I, Hamlet, the Dane" came 
in violent collision with a shelf of bottles. Crash on 
crash they tumbled down, and the boys, horror-stricken, 
viewed the shattered fragments before them. Luckily, 
their employer was lenient, and the penalty of the 
accident fell lightly. 

By and by, James Woodhouse imparted the startling 
information, that he, had actually stood before the foot- 
lights. " How did you get there ? " said the awe- 
stricken Owens. " How ? Why, as a supernumerary ; 
and so can you." This was the thin edge of the wedge 
to revive hope in the heart of the youug aspirant for 
histrionic life. 

Though unmistakably stage-struck, he had never been 
in a theatre but twice. The first time, was with his 
father ; the bill being " The Mountaineer " and " Robin- 
son Crusoe" A most blissful evening to the boy, 
affording him enjoyment which lasted for weeks after- 
wards. Obtaining a book of the Mountaineer, he read 
it with avidity, over and over again; every page being 
to him, not only entrancing, but illuminated akin to 
reality, from having seen it enacted. Edmon S. Conner 
(who played Octavian) he regarded as almost superhu- 
man; and had the future been then predicted that he 



JOHN E. OWENS. 9 

would be professionally associated with this hero, such 
a prophecy could not have been regarded as otherwise 
than impossible of fulfilment. 

On his second visit to a theatre, from the pit of the 
"Arch Street/' he enjoyed the spectacle of "The Forty 
Thieves" Arriving early, he obtained a seat quite near 
the stage ; and as the play progressed, somewhat regretted 
his close proximity to the band of robbers. To his 
youthful and inexperienced eye, they appeared exceed- 
ingly fierce, and seemed to threateningly scowl at those 
near them in the audience ; repressing with difficulty a 
desire to make an attack upon the inoffensive spectators. 
Long years afterwards, in mentioning this experience, he 
used to laugh at the thrill inspired by burnt cork mous- 
tachios; and a scowl engendered from nervous fright, 
awkwardness, and a fear of being recognized, and guyed 
by acquaintances. 

But, to return from this digression, to the conference 
between Woodhouse and Owens, about going on the 
stage. An advertisement shortly afterwards appeared 
in the " Ledger," requiring a large number of " supers " 
for a spectacle about to be produced at the National 
Theatre, by William E. Burton, the famous comedian, 
manager, and author. Owens presented himself as an 
applicant, was accepted ; and thus, at the age of seven- 
teen, he began his theatrical life. Night after night, he 
managed to be on duty unknown to his parents or 



10 MEMOEIES OF 

employer. One evening he had quite a scare. While 
advancing in a procession of supers, he saw his father 
with some friends in a box near the stage. Forgetting 
how much the super's dress and make-up disguised 
him, he thought the time of discovery had arrived. 
To use his own words when relating the incident : 
"I could have sworn that our eyes met, and what 
astonished me was, that no angry manifestations fol- 
lowed." 

Weeks went on and the novelty of being behind the 
scenes, and before the footlights waned. No prospect 
of advancement appeared. True, he had now and then 
a few lines to speak, but the result was not always 
satisfactory. As, for instance. In a melodrama, being 
cast for first murderer, and another youth for second 
murderer, they were much elated with having "speaking 
parts " assigned them ; and ambitious to make the most 
of the opportunity — o?;erstudied. 

Their first dialogue, informs the audience of intention 
to commit a murder. During the Third Act, they again 
appear, and discuss the deed that has been done, and 
their fear of detection. Owing to excitement, the lines 
in the Third Act, were spoken first. Coming off the 
stage, they gazed hopelessly at each other. "What 
shall we say in the Third Act?" was the mutual inter- 
rogation. 




WILLIAM E. BURTON, 
Comedian. 



JOHN E. OWENS. 11 

Owens met the emergency, by striving to bridge over 
the dilemma with interpolation ; but his efforts were only 
partially successful. He was fined and severely repri- 
manded. This, together with the information that " speak- 
ing parts" would be withheld from him for awhile, 
was very depressing. Despairing of making progress 
in the profession, he withdrew, and tried to concen- 
trate his thoughts on the duties of his situation at 
the drug store. 

One day, on his way home to dinner, he heard his 
name called from the opposite side of the street ; looking 
up, he saw Mr. Burton ; he went over and was accosted 
thus : — " My little Owens, I haven't seen you about the 
theatre for some time ! " " No, Mr. Burton," he replied, 
" I don't think I'll ever make an actor, so I keep away." 
" Nonsense," said Burton, " you haven't tried long enough 
— must learn to walk before you can run — I'd like to 
have a talk with you. Can you come up to my house ? " 
"Certainly, Mr. Burton; whenever it suits you." An 
appointment was made, and kept, the result of which 
was, the return of Owens to the National Theatre ; not 
as a supernumerary, but for speaking parts of a few lines, 
with promise of advancement. 

The Ocean Child was brought out at the National 
Theatre, September 23, 1841, and Owens cast for Peter 
Poultice, the first part of importance that had ever been 
given to him. He made a hit. This prominence being 



12 MEMORIES OF 

mentioned by the press, revealed to his parents the fact 
that their son was on the stage. Their surprise was 
great ; but resentment for the concealment was overcome 
by gratification at his success. Relatives, friends, and 
neighbors, were invited by the family to go to the 
National Theatre to see the "Ocean Child," and witness 
"our John's" performance of Peter Poultice. The piece 
had a good run, and was revived later in the season. 
The original cast being as follows : 

THE OCEAN CHILD. 

Captain Mandeville Mr. J. B. Koberts. 

(of the Windsor Castle). 

Captain Sturdy (of the Earl Grosvenor) Mr. Sherman. 

Harry Helm Mr. E. S. Conner. 

(an able sailor, on the Windsor Castle). 

Dennis O'Trot (his messmate) Mr. E. Shaw. 

Kohrek (a Malay sailor) Mr. Oakey. 

Peter Poultice (an apothecary's apprentice) Mr. Owens. 

Joel Junk (otherwise Old Davy Jones) Mr. Archer. 

Mary Helm (Harry's wife) Mrs. Geo. Jones. 

Malays, European Sailors, Midshipmen, &c, &c. 

Act 2. 

(After a lapse of eighteen years). 

Sir Arthur Hamilton Mr. J. B. Eoberts. 

(formerly Captain Mandeville). 

Captain Worthyman Mr. W. Thompson. 

(of the Antelope). 



JOHN E. OWENS. 13 

Jack Helm Neptune Miss Alexina Fisher. 

Lieutenant Manly Me. Vanstavosen. 

Will Capstan (a midshipman) Mr. Bowers. 

Dennis O'Trot (landlord of the Shamrock) Mr. E. Shaw. 

Dr. Poultice (Surgeon Dentist) Mr. Owens. 

(Man, Horse, and Cow Doctor). 

Old Curious (the steward) Mr. Archer. 

Mary Helm (a maniac) Mrs Geo. Jones. 

Margery O'Trot Miss H. Shaw. 

Kate (her daughter) Mrs. R. Cantor. 

It is a singular coincidence, that his first mark in the 
profession, should have been made by the personation of 
an apothecary's apprentice, the position he then occupied 
in real life. Once having tasted applause, over went the 
mortar and pestle, and every energy was bent to becom- 
ing an actor. Though young, he was not unduly elated 
by the praise he received, but realized that much study 
was indispensable. He, therefore, severed his connection 
with the drug store, and entered with intensity of purpose 
into the profession — to which, in later years, he was so 
great an acquisition, so brilliant an ornament. 

His course was now onward and upward. The National 
Theatre, this season, had an excellent stock company ; 
among whom was Miss Alexina Fisher, Edmon S. Con- 
ner, Mrs. Rachel Cantor and others. 

Alexina Fisher was, perhaps, one of the most polished 
and attractive juvenile actresses that ever adorned the 
stage. She afterwards starred successfully, and is best 



14 MEMOEIES OF 

known to the present generation as Mrs. John Lewis 
Baker. She died in 1887, leaving a son, John Lewis 
Baker, and a daughter, who is the wife of John Drew. 
Mrs. Rachel Cantor (then an excellent soubrette) in later 
years played first old woman acceptably. She travelled 
with Laura Keene and other prominent stars. At pres- 
ent, she is an inmate of the Forrest Home. 

D. P. Bowers, was among the youngsters of the com- 
pany. He had been popular as a " boy star ; " but after 
retiring from the role of a prodigy, wisely determined to 
commence at the bottom of the ladder, and strive for 
eminence on a more secure and gradual footing. He 
became a clever light comedy actor. Graceful, easy, and 
natural in whatever character he assumed, and was well 
known throughout the country. He died in 1857 at the 
age of thirty-five, leaving a widow who has always been 
a favorite with the public, and for many years a promi- 
nent star in the profession she graces. The name of 
Mrs. D. P. Bowers is familiar to all, and her talent as 
a great actress thoroughly established. 

From 1841 to 1844, Owens played frequently under 
Burton's management. Mostly in Philadelphia, but 
occasionally in Baltimore and elsewhere; during which 
time many brilliant actors were associated with the 
company, not only as stars, but in the stock. I find 
a cast of Hamlet in a play-bill of December 16th, 1841 ; 
the strength of which, it would be difficult to surpass. 



JOHN E. OWENS. 15 

BURTON'S NATIONAL THEATRE, PHILADELPHIA. 

Hamlet Mr. Edwin Forrest. 

Ghost Mr. J. B-. Scott. 

Laertes Mr. J. Wallace:. 

Horatio Mr. E. S. Conner. 

Claudius (King of Denmark) Mr. J. B. Eoberts. 

Polonius Mr. W. Jones. 

Kosencrantz Mr. Howard. 

Osrick Mr. Beck. 

Guildenstern Mr. Sherman. 

Marcellus Mr. Watson. 

First Gravedigger Mr. W. E. Burton. 

Second Gravedigger Mr. Owens. 

Francisco Mr. Oakey. 

First Actor Mr. Bowers. 

Second Actor Mr. Watson. 

Priest Mr. Venua. 

Gertrude (Queen of Denmark) Mrs. George Jones. 

Ophelia Miss Josephine Clifton. 

Player Queen Mrs. A. Knight. 

Our young aspirant for theatrical fame had every 
advantage in daily observation of so much genius ; and 
the rehearsals as well as performances were closely 
watched as a medium of instruction. His ambition was 
great, but never overleaped itself, for he realized how 
very much he had to learn, before he could, in any 
degree, approach the position for which he was striving. 

One day Mr. Burton said to him : " I think you 
would play Zekiel Homespun, well — that is, if you can 



16 MEMOEIES OF 

speak the dialect — will you try it?" "Let me read the 
part first, Mr. Burton, and then I can tell you." He 
took home the book of " The Heir at Law " which Mr. 
Burton lent him, but made no additional remark ; for, 
impressed with the importance of the character assigned 
him, he was too excited to speak. Past midnight before 
Zekiel and he parted company, and even when he fell 
asleep, the lines were in his mind. Next day he asked 
Mr. Burton to hear him speak a sentence, that his dialect 
might be tested. " Perfect, my boy," said Burton ; 
" now learn the part." " I have memorized the words 
already," replied Owens, "and I shall study the part 
and hope to know it too." 

He was very nervous when the night for " The Heir 
at Law" arrived. Burton, who played Dr. Pangloss, 
tried to inspire him with confidence, and thus encouraged 
he gave a truly excellent performance of Zekiel, eliciting 
warm encomiums. His youthful appearance admirably 
suited with the hearty, healthy country lad he was rep- 
resenting — albeit, sometimes the bright eyes and boyish 
face, were obstacles to his make-up. 

One night, Mr. Ferris, a mature actor whose dressing 
room he shared, found him almost crying over unsatis- 
factory endeavors to effect a resemblance to Bailie Nicol 
Jarvie, the part in Rob Roy for which he was cast. He 
confided his woe, thus — " I know the lines, and the busi- 
ness perfectly, but I can't look like the character. Oh, 



JOHN E. OWENS. 17 

Mr. Ferris, what shall I do ; I am so confoundedly 
young ! " With a shrewd dry smile, Ferris replied — 
" Don't be worried about it, time will cure that, cheer 
up!" 

" Dr. Ollapod " in The Poor Gentleman was played by 
Owens at twenty-four hours' notice, and he was dead- 
letter perfect. True, it did not equal the polished rendi- 
tion of that character in his riper years ; but the per- 
formance was creditable. 

In the summer vacation of 1840, Owens joined a 
company which was organized on commonwealth basis, 
to travel through small towns. Their experience was 
limited and the treasury even more infinitesimal. Bad 
business made a short season. In Richmond, Virginia, 
they disbanded. During the fortnight they played there, 
Owens became quite a favorite. His clever, though 
crude, portrayal of the leading comedy, his ready wit, 
and inexhaustible humor, attracted much attention ; and 
made for him, friends, as well as admirers. One of the 

prominent citizens, Dr. H took a great fancy, and 

personal liking to the young comedian ; and invited him 
to make a visit to his home on Shockce Hill. This 
courtesy was accepted ; and Owens became the Doctor's 
guest, after the disbanding of the company. Not only 
was the hospitality of the Doctor and his family charm- 
ingly agreeable, but access to Dr. H 's extensive and 

valuable library was an additional enjoyment. Among 
2 



18 MEMOEIES OF 

other books, were many rare works on Astronomy. This 
having been a favorite study with Owens, he was glad of 
the opportunity to increase his knowledge. 

By and by, an idea occurred to him. The renewal 
of theatrical engagement during the summer was impos- 
sible. "Why shouldn't he lecture on Astronomy, and 
earn money to keep him till the fall season began?" 

He consulted Dr. H , who much amused, said — 

" You look far too young for a Professor of Astronomy 
— moreover, everyone will know you, and laugh, remem- 
bering your comicalities. " I can change my name, and 
wear green spectacles," retorted the youngster ; — the Doc- 
tor laughed, entered into the matter as a frolic, and 
promised every assistance in his power; — and so, the 
writing of the lecture began. 

Hard study and the Doctor's library stood Owens 
good stead. His MS. was soon written. Seeking the 
companionship of an acquaintance, they joined issue in 
finances, purchased a magic lantern with astronomical 
pictures ; and arranged a partnership. Owens as lecturer 
and illustrator, Dawes as door-keeper and general facto- 
tum. Oif they started to make a tour of the adjacent 
villages. Sometimes journeying by stage coach, but more 
frequently on foot for sake of economy. Light-hearted, 
young, and strong in health, they thoroughly enjoyed the 
adventurous freedom of the project. Their advertisements 
and programmes were written in a big round hand, and 



JOHN E. OWENS. 19 

nailed up in the grocery store, tavern, and blacksmith 
shop of each village they visited. 

At first, the entertainment scored a success with the 
country people ; for (in those days) any public amusement 
was a novelty to them. Professor Roberts (?) wearing 
green spectacles and his hair brushed back, was of im- 
posing appearance as a lecturer ; and his fluently delivered 
discourse interested the listeners. His assistant, Mr. 
Smith (?) was equally acceptable. They made sufficient 
money to meet expenses, and maintain their dignity by 
sojourning at the tavern, in each town, and ordering the 
best it afforded. This pleasant experience was brief. 
Slim attendance in one or two villages exhausted the 
exchequer. From bad to worse, they became reduced to 
hunger. 

When referring to this escapade, Owens used to, laugh- 
ingly, say, that the sorest temptation of his life, was, when 
standing before the cake stand of an old darkey woman, 
he offered her his pocket-handkerchief in exchange for 
a ginger cake. She refused and turned away from him 
— the cakes were within his reach — hunger gnawing with 
the intensity of twenty-four hours' fasting — he could 
scarcely refrain from helping himself; adding, " Indeed, 
it's a mercy I didn't devour the entire cake stand, old 
woman included." At New Glasgow, the astronomical 
enterprise received its death blow. A crowd of rustics 
gathered in front of the hall, impatient to see " the show," 



20 MEMOEIES OF 

but the owner of the building refused to light candles, 
and open the door, until a portion of the rent was paid in 
advance. The Professor and his assistant being penniless, 
were unable to meet this demand ; and deeming discretion 
the better part of valor, retreated through the back door 
to the hotel ; inasmuch as the prospective audience were 
becoming noisy at the delay, and murmured threats of 
violence were heard. 

Next day the partners discussed the situation, and 
agreed that their scheme was a failure ; although it had 
its bright side in the way of " great fun." From the sale 
of the magic lantern, they realized enough to help them 
on to Eichmond, each having written to their parents for 
funds to take them thence, home. 

For the season of 1844-45, Owens received three offers 
for the position of first low comedian — a situation which 
he strongly desired to occupy, and of course, never could 
in Burton's theatre, as that line of business belonged to 
Mr. Burton. Moses Kimball of the Boston Museum 
wrote to him offering an engagement for the position of 
first comedian — mentioning as an inducement the long 
duration of the season in his theatre, and detailed its 
comfortable surroundings ; concluding by saying : " I 
believe the engagement which I propose, would prove 
mutually agreeable and advantageous. Do me the 
favor to think the matter over thoroughly before you 
decide." 



JOHN E. OWENS. 21 

Peale of the Baltimore Museum, and William Shires 
of "Shires' Gardens," Cincinnati, also desired his services 
for the season. Moses Kimball claimed that greater ad- 
vantage would accrue from an engagement with him, but 
did not offer as much salary as Peale; who again was 
exceeded in terms by Shires. The latter, afterwards 
became manager of the National Theatre, and Pike's 
Opera House in Cincinnati, but at the time I refer to he 
was owner and proprietor of " Shires' Gardens," corner 
of Third and Vine streets, where the Burnet House now 
stands. The garden occupied an entire block. It was 
planted with shade trees, and beautified with flower beds. 
Interspersed through it, were ice cream booths and places 
of refreshment. In the centre, stood a pretty frame 
theatre which was ably managed, with a good stock com- 
pany supporting stars during the regular season. 

In the summer months, day as well as night perfor- 
mances were given by the stock company. Here, is 
marked, the first introduction of mat'me'es in this country. 
The innovation was not a great success with the public, 
and decidedly unpopular with the profession. In fact, 
the matinee element, caused Owens to decline Shires' offer. 
For some time he deliberated between Boston and Balti- 
more, but finally decided in favor of the latter ; signing 
for the season with Peale, at fourteen dollars a week, and 
two benefits. The position with Moses Kimball, at the 
Boston Museum, was afterwards accepted by William 



22 MEMOKIES OF 

Warren ; and thus began, as local favorites, the career of 
two comedians destined to become famous to the world, 
and brighten many lives. Endeared to hosts of friends, 
they were most beloved by those who knew them best. 
As this epoch marked the dawn of Owens' great success 
in his profession, the little theatre where he attained over- 
whelming popularity, and from whence he emerged as a 
brilliant star, may claim some interest with my readers. 
I, therefore, give a succinct account of the Baltimore 
Museum. It was situated on the corner of Calvert and 
Baltimore streets. Mr. John Clark, a prominent lottery 
broker, purchased the site, and erected the building in 
1829. The lower part was used for a banking house; 
and the upper part rented to Rembrandt Peale for the 
exhibition of curiosities, stuffed birds, pictures, &c. Five 
years later, Edmund Peale assumed the management 
and inaugurated dramatic entertainments in the Lecture 
room. 

In 1846, P. T. Barnum bought the museum from 
Edmund Peale, and appointed his uncle, Alonso Taylor, 
manager. Mr. Taylor lived but six months afterwards. 
At his death the place was put in charge of Mr. Charles 
S. Getz, the celebrated scenic artist, whose work and 
talent is so widely known. Mr. Getz conducted the place 
until it passed into the possession of Joshua Silsbee (Yan- 
kee Comedian) and Albert Hamm — a member . of the 
musical troupe known as the Orphean Family. 



JOHN E. OWENS. 23 

On that little stage appeared some of the best talent 
that ever delighted an audience. Mrs. Kussell (Mrs. 
John Hoey), Mary Gannon, Mrs. Watts, Miss St. Clair, 
Mrs. D. P. Bowers, Chippendale, Davenport, J. W. 
Albaugh, and a host of others, won their first laurels here. 
Among the stars we find James Murdoch, J. B. Booth 
(the elder), J. W. Wallack, Joe Cowell, J. E. Scott, 
Charles Burke, Charlotte Cushman, Fanny Wallack, 
Mrs. Farren, Julia Dean, Eliza Logan, Mr. and Mrs. 
Barney Williams, Mrs. C. Sinclair Forrest, and many 
more. 

Of John Owens' connection with the Museum, I shall 
speak more in detail as my narrative progresses. His 
first season began September 5th, 1844; vaudeville and 
farce constituted the usual dramatic attraction. Later on, 
Kate Ludlow joined the company as a feature in " Kate 
Kearney;" being noted for her singing and dancing. 
In November Mr. and Mrs. H. Hunt (now Mrs. John 
Drew) played a star engagement. Mrs. Hunt was a 
most fascinating and talented comedienne. Her Widow 
Cheerly in the Soldier's Daughter ; Marian, in the Wind- 
mill; Fortunio, and all that line of characters, were 
wonderfully charming. 

I always find pleasure in remembering them, and con- 
gratulate myself that I had the privilege of seeing her in 
these exquisite renditions, which will rank with the 
extremely different character of Mrs. Malaprop that she 



24 MEMOEIES OF 

gives with such perfection to the public of the present 
day. To descant upon Mrs. John Drew's versatility and 
excellence as an artist is a work of supererogation — akin 
to " painting the lily, or gilding refined gold." 

The next great attraction at the museum was " Beauty 
and the Beast," prettily gotten up, with the following 
strong cast. 

BEAUTY AND THE BEAST. 

Beauty Mrs. J. B. Booth. 

The Beast Mr. James L. Gallagher. 

John Quill Mr. John E. Owens. 

Sir Aldgate Pump Mr. John Sefton. 

Dressalinda Mrs. Russell. 

Marygold Mrs Watts. 

The Wild King Mr. Macklin. 

Not only the talent of the dramatis personal, but con- 
siderable musical ability added thereunto, rendered this 
bill sufficiently attractive to draw full houses. 

The Lecture room became Baltimore's fashionable place 
of resort, and Owens the leading favorite with all. Pop- 
ular too, among his fellow actors, always bubbling with 
the mirthfulness which springs from a sunny nature, he 
found much amusement in his surroundings; though 
many of them were the reverse of agreeable. 

Peale, not content with the inanimate curiosities of the 
saloon, alone, would from time to time exhibit freaks and 
monstrosities of various kinds. Owens was antagonistic 



JOHN E. OWENS. 25 

to this mingling of theatre and menagerie ; but always 
saw the ludicrous side of the situation. I have heard 
him laughingly refer to it thus : " Matters culminated 
when I read on the bill-boards, a startling advertisement 
of the performance — headlines in immense letters : 

1 Gee at Attraction ! 

JOHN SEFTON ! ! JOHN OWENS ! ! ! 

and 

A BEAR ON THE ROOF ! ! ! ! ' 

"I had been reasonably patient, but here I drew the 
line. Mentally, I ejaculated, 'this association, even in 
type, is more than I can endure.' I remonstrated with 
Peale, and suggested that his aim should be to elevate 
the drama; and lhat certainly could not be effected by 
placing its representatives on a plane with brute attrac- 
tions. I made some impression, and he promised to 
reflect on what I said. Meanwhile, fate intervened. The 
roof of the museum did not afford congenial atmosphere 
to the bear. Poor Bruin pined, sickened and died; and 
thus we were relieved of a mortifying incubus." 

Early in the autumn of 1845, W. E. Burton managed 
the Chestnut Street Theatre in Philadelphia. Mr. and 
Mrs. Charles Kean being the first stars. To strengthen the 
support, Owens was engaged to play second comedy to 
Burton, in some of the pieces, and first comedy in such as 



26 MEMORIES OF 

Burton did not care to appear in. Also for the farces; 
in the latter he was to be made a feature. 

During this engagement, Mr. and Mrs. Kean fre- 
quently made gracious recognition of the young actor's 
merit. He was proud of their good opinion, and his grati- 
fication was unbounded when Mrs. Kean, after the per- 
formance of " The Stranger," complimented him by 
saying, " she had never seen the part of ' Peter ' so well 
enacted, it being ludicrously comic, yet neat, and withal 
artistically rendered." In December, Owens played a 
star engagement of one week at the Baltimore Museum, 
but the rest of the season he was in Philadelphia and 
elsewhere, under Barton's management, diligently study- 
ing, and all the while advancing in his profession, play- 
ing more important parts and with greater finish and 
force. 

Among the offers received for the season 1846-47, was 
one from Ludlow and Smith, managers of the St. Charles 
Theatre, New Orleans, for first low comedy business, at a 
moderate salary, and two benefits. This position was 
accepted; after signing the contract, Owens arranged to 
play at various towns on his way down the river to New 
Orleans. The route mapped out, commenced with an 
engagement in Pittsburg, under the management of C. S. 
Porter. The result was satisfactory — he made a hit — and 
the good impression increased during the fortnight of his 
stay there. The packed house, and enthusiastic audience 



JOHN E. OWENS. 27 

which greeted him on his farewell night, not only grati- 
fied, but surprised, the young star. 

With this inspiring beginning to the journey, he pro- 
ceeded pleasantly to New Orleans, making his debut 
there as Sampson Low, in " The Windmill" on the even- 
ing of November 21st, 1846. He was received with 
hearty approbation ; and this success, so instantaneously 
attained, grew and strengthened while he remained in 
New Orleans. From that time until his last appearance 
in the dear old city, he was their favorite and beloved 
comedian. The stock company at the St. Charles Theatre 
this season was excellent — prominent therein were Sol 
Smith, Jerry Merryfield and wife (Rose Cline), John 
Weston, C. F. Adams, Proctor, Bynar, and James 
Wright. 

At this time " The Louisiana Histrionic Association " 
held exalted position in New Orleans. They owned a 
pretty theatre on St. Charles street; it was organized 
and conducted with perfect discipline — each member hav- 
ing his line of business allotted. During the summer the 
players from the regular theatres were engaged by the 
Histrionic Association, at high salaries, and many first- 
class stars appeared. Of course, the amateurs being 
devotees of the drama were prone to seek companionship 
with the leading lights thereof. In this way Owens made 
the acquaintance of Fred N. Thayer, who came of a well 
known theatrical family ; many of his relatives being on 



28 MEMOKIES OF 

the stage — prominently, his uncle, E. N. Thayer, so long 
a favorite in Philadelphia and elsewhere. 

Mr. F. N. Thayer possessed the requisites of an accom- 
plished actor. To attractive personal appearance he 
added culture and refined taste, a well modulated voice, 
and strong elocutionary power ; these gifts, prominent as 
an amateur, were fully developed, when, in 1855, he went 
on the regular stage as leading man in Dion Boucicault's 
company at the Gaiety Theatre, New Orleans. There, 
and in other cities he distinguished himself; noticeably 
in the role of Armand Duval ; supporting Matilda Heron 
in her great success of " Camille." Later on, he was 
chosen by that famous actress to play the part during 
her New York engagement. 

After a few years of theatrical life, Mr. Thayer retired 
and engaged in mercantile business. The friendship 
formed between Mr. Owens and Mr. Thayer ripened as 
time went on and strengthened with frequent intercourse. 
To the close of Mr. Owens' life none held higher place 
in our regard than Mr. Thayer and his family. In 
speaking of the St. Charles Theatre Company, I omitted 
the names of Mr. and Mrs. George Farren. The latter 
was leading lady; her talent and popularity so well 
known, I need not descant upon. 

Mr. Farren used to relate an anecdote of Owens which 
was amusing and also characteristic. The St. Charles 
Theatre Stock Company having heard that Owens was 



JOHN E. OWENS. 29 

an immense favorite north, were quite prepared for the 
manifestation of self-importance on the part of the " New 
Comic/' as they facetiously designated the recent addition 
to their corps. Mr. Farren said to them, "Well, boys, 
as the young man dresses with me, I will observe and 
report any peculiarities that may need subduing." Later 
in the evening, in reply to their eager questioning he 
said — " It is quite a mistake ; our ' new comic ' is by no 
means arrogant or ostentatious ; his deportment is modest 
and quiet, but he has peculiarities, for his dressing-case 
of paints, &c, consists of two pill boxes ! " I once heard 
Mr. Farren tell this story ; and here he was interrupted 
by Mr. Owens good-humoredly ejaculating, "I vow, 
Farren, that's too rough ; I deny the pill boxes ; " but 
Farren, much to our amusement, insisted on the veracity 
of his story, adding, " The greater credit to you for being 
able to draw from such limited sources such wonderful 
inake-ups." 



CHAPTER II. 

Owens' method of preparing for the stage— A paradoxical manager — 
Departure for Europe — Visit to the old homestead of "Aigburth 
Vale," near Liverpool — Return to Baltimore — The organ grinder 
and the monkey — Epes Sargent — Engagement at Arch Street 
Theatre — " Glance at Philadelphia " — " Jakey " creates a furore 
— January, 1849 — Owens purchases Silsbee's half of the Baltimore 
Museum — Marriage of Mr. Owens — Methodist prejudices — Col. 
George P. Kane as a mediator — Italian Opera — "We are mooch 
talented" — A psychologist astonished — "I want to ketch on to 
your play-acting tricks" — Eliza Logan — The Live Indian — Mr. 
and Mrs. Barney Williams — James Murdoch — Julia Dean — The 
Bateman children — 1850, Owens sole owner of the Museum — Mor- 
ton's farces — " Don't make such good fun " — Brougham's Lyceum, 
New York — Startling hit as " Uriah Heep " — The Forty Thieves — 
" The rest of the band will remain in the wood." 

TT7HE facility and rapidity with which Mr. Owens 
made up his face for the stage was marvellous. 
His preparations, including change of costume, required 
but a few moments ; my early experience as his dresser 
was somewhat fraught with nervousness. As he would 
leisurely chat or read the evening newspaper, I could not 
refrain from saying, "Do you know how late it is? 
The first music has been called." " All right," he would 
30 



JOHN E. OWENS. 31 

reply, " I shall be ready," and he invariably was. I soon 
learned that there was no danger of a stage wait, whether 
the part chanced to be the merry one of Joshua Butterby, 
or poor old Caleb Plummer with his piteous, deeply fur- 
rowed face, or the wizen visage of miserly old Spruggins. 
The latter, perhaps, altered Mr. Owens' appearance more 
than any part he played, and for that, I have seen him 
make up his face in five minutes. He never liked to be 
entirely dressed until his cue was near, and often said, " I 
couldn't feel the character if I waited — the excitement 
inspires me." In Solon Shingle, he was always putting 
on his gloves hurriedly, as he spoke the first lines with- 
out. But, I have digressed, and must pick up the thread 
of my narrative by returning to Mr. Owens' season at the 
St. Charles. Among the stellar attractions, he then had 
the opportunity of observing, were Mr. and Mrs. James 
Wallack, Mr. and Mrs. Charles Kean, Anderson, 
Murdoch ; association with whom, could not fail to im- 
prove a young and studious actor. In speaking of the 
jolly and clever manager, Sol Smith, Mr. Owens used 
to describe his personal appearance as attractive but very 
remarkable in one respect ; the right side of his face had 
a merry expression ; the left, was of serious aspect. Mr. 
Owens would jokingly add, " the former was invariably 
turned to whoever he addressed during good business, 
and the latter when the houses were slim ; and this was 
the only way in which Sol Smith could be double-faced • " 



32 MEMOEIES OF 

the usual acceptation of that expression, was the anti- 
thesis of his nature. 

Owens' engagement in New Orleans closed April 16th, 
1847, with a bumper benefit. About this time numer- 
ous cases of yellow fever had occurred in the French 
quarter of the city. That, being the locality in which 
Owens resided, his friends became alarmed for him, though 
he did not share their fears. In compliance with much 
importunity on the score that he was not acclimated, he 
concluded to run no further risk by remaining in New 
Orleans ; so, made up his mind for the pleasure of a sea 
voyage, to terminate with a visit to his relatives in Eng- 
land. 

On May the third, he sailed in the bark Emerald, and 
though delayed by adverse winds, the trip was very enjoya- 
ble. His recollections of England were vague ; the most 
vivid was that of his mother's sister, Aunt Bessie Orme, 
with her sweet face, and gentle ways, and Uncle Orme, 
who played and sung so delightfully, and always petted 
him. When he arrived in Liverpool, some of his childish 
impressions became dispelled; Nelson's monument was 
puny, in contrast to his remembrance of it. The big 
river Mersey greets his gaze as a mere stream. Proceed- 
ing to the home of his relatives, at Aigburth Vale, all 
memories of dear Aunt and Uncle Orme were more than 
realized. The same warm-hearted loving welcome met 
him as in childhood. Many happy days were passed at 



JOHN E. OWENS. 33 

the old homestead, and it became so endeared to him that 
he registered this vow : " If I am ever rich enough to 
have a country place, I will call it ( Aigburth Vale.' " 
And so he did, six years later — improving and beautify- 
ing an estate which was home to us in every sense of the 
word, so long as he lived. 

After adieux to Aunt and Uncle Orme he made a fly- 
ing visit to Paris, then back to Liverpool, where he took 
passage in the bark Emerald, bound for the port of Balti- 
more. There he arrived in September. The Baltimore 
Museum had been much improved during the summer, 
the Lecture room having been altered and enlarged 
into a cosey theatre, with cushioned seats, private boxes, 
parquette, and gallery. New scenery, and decorations 
were designed and executed by that well known artist, 
Charles S. Getz. When completed, the theatre was as 
pretty a little place as one would wish to see. The 
Baltimoreans attested their appreciation by crowding the 
house on the night of September 7th, 1847, when Hamm 
and Silsbee (new managers) inaugurated the theatre with 
a good stock company playing The Honeymoon, and a 
farce. 

On the 16th Owens began a star engagement, opening 
in The Poor Gentleman and State Secrets. His return 
was warmly welcomed; and so unanimous was the de- 
mand of the public for a continuance of his engagement, 
that the management offered inducements which decided 
3 



34 MEMORIES OF 

him to remain as a stellar attraction. Apart from business 
considerations, he was well content in Baltimore, having 
long inclined to that city with a home feeling. After 
entering into a permanent agreement with Hamm and 
Silsbee, for an extended period, he arranged with his 
father that the entire family should remove from Phila- 
delphia and reside in Baltimore. 

At this time, the attractions at the Holliday St. Theatre 
were mostly Shakespearean (or other) tragedies. Edwin 
Forrest was playing to enthusiastic audiences. But these 
performances being so different by reason of their legiti- 
mate grandeur, in no way interfered with the cosey 
Museum's comedy and vaudeville entertainments. In 
this connection the remark was made after rehearsal, one 
morning, "our little place is always crowded, notwith- 
standing Forrest's great success." Whereupon, Owens 
retorted : " Apropos of that, I'll give you a conundrum. 
Why are we, at the Museum, more fortunate than those 
at the Holliday St. Theatre?" Several guesses being 
made, without solving the riddle, the perpetrator was 
desired to give the answer ; which came in this guise : 
" Because, they have only one Forrest, great and grand as 
he is. While we, have our little Forrest, our shady 
Bowers, our green Fields, our lovely Woods, with Davjes 
pecking about ; our beautiful Rivers, and always Wright 
with us." Thus, introducing the names of some of the 
ladies and gentlemen of the company ; all of whom, 



JOHN E. OWENS. 35 

heartily enjoyed the joke, except Mr. Fields, who rather 
resented the descriptive adjective appended to his name. 

Many new plays were given this season, noticeably, 
"The Merchant and his Clerks" which met with great 
favor from the public. Owens personated Kit Cockles, 
a jolly ne'er-do-well, who among various occupations 
becomes an organ grinder ; whilst his wife, Betty, plays 
upon the tambourine, and collects pennies (more or less — 
generally less) from the street crowd. The part is replete 
with humor, and was vividly embodied. To make it 
realistic, Owens obtained from a genuine organ grinder, 
the use of his organ and monkey; and received instruc- 
tions how to manage both. He soon found the under- 
taking beyond accomplishment — so far as the monkey 
was concerned. The little imp was vicious when trans- 
ferred to a stranger; though docile enough with his 
owner, who, standing at the wing, endeavored to control 
the animal by an admixture of menaces and profanity. 
Only partially succeeding — as all on the stage were in 
dread of being bitten by the chattering beast. 

To talk of, afterwards, the scene was very funny, but 
anything else but amusing at the time. Struggling with 
the hand-organ, and fighting off the monkey in such a 
way as to prevent the audience from being cognizant of 
the contretemps was, as Mr. Owens said, "the hardest 
work he ever tackled. " When the scene was over, he 
went up to the Italian, and remarked : " There, my good 



36 MEMOEIES OF 

man, is your property, I gladly relinquish it. Come 
again to-morrow night ; bring the organ, but not the 
monkey. I am convinced that I have no vocation for 
managing monkeys. The hand-organ alone is a gigantic 
undertaking. I am sure it weighs a thousand pounds." 
The fellow stared, scratched his head in a puzzled way, 
and walked off; not at all understanding the covert 
humor, for which he had been a target. 

The play had a good run, and after its withdrawal, the 
query was often made of Owens : " Why don't you play 
Kit Cockles ? it's such a funny part." " Yes," he would 
reply, "very funny to the audience, perhaps, but it's 
rather heavy for me." I never knew him to pass an 
organ grinder without giving him money; "they earn 
it," he would say, "for it's hard work carrying an organ. 
Kit Cockles and I, know all about that weighty business." 

Owens' contract with the managers of the Baltimore 
Museum, concluded April 22, 1848, and during its seven 
months' duration he appeared in various characters, too 
numerous to mention. His versatility has never been 
excelled. With a voice which embraced every tone in 
its register, he was equally effective in humor or pathos. 
Gifted with personal magnetism, he held his audience 
spellbound; to laugh with him in rollicking merriment, 
or with misty eyes respond to the tenderness of his 
pathetic acting. Baltimore was loth to part with so great 
a favorite even for a short time. A month earlier Owens 



JOHN E. OWENS. 37 

had signed with Burton to star at the Arch Street 
Theatre, in "A Glance at Philadelphia" a local drama, 
in which he played Jakey, a volunteer fireman. 

Two years previous, he had been cast for a character 
of the same nature, in " Change makes Change ; " a play 
written for Mrs. Mowatt, by Epes Sargent. The part 
was short and sketchy, but made a hit, and was much 
talked of. The play, not being a success, was soon with- 
drawn ; but, Owens remembering the " fire laddie," so 
favorably received, felt confident that he should make a 
mark as Jokey — and he did ; far beyond his most san- 
guine expectations ; creating such a furore that the thea- 
tre was packed nightly — the sidewalks impassable long 
before the doors were open. A droll incident happened 
one evening, as Owens (being rather late) was hurrying 
along Arch street, striving to elbow his way through the 
surging crowd, a stout and rather rough man savagely 
accosted him thus : " Stop a pushing of me ; do you think 
nobody wants to see Owens but yourself? " 

The original cast, in Philadelphia, gives John Crocker, 
as Harry Gordon ; T. B. Johnson, as George Petriken ; 
and Mrs. C. Howard, as Lize. After six weeks 7 run, 
Burton brought the piece to the Front St. Theatre, Bal- 
timore, where it met with the same enthusiastic reception 
and crowded houses. Returning to Philadelphia, it was 
again played at the Arch St. Theatre, supplemented with 
Jakey's Marriage ; repeating its original success. Some 



38 MEMOEIES OF 

changes in the cast were made during the run of the piece. 
Mrs. J. B. Booth, Mrs. Burke, Annie Cruise, alternating 
as Lize. 

The character of Jakey, given by Owens, was so real- 
istic, so exactly like the " fire boy," seen then, in every- 
day life, that it did not seem at all like acting. It was 
perfect as a type of the volunteer fireman of that period ; 
and as artistically true to nature in every detail, as the 
most elaborated Shakespearean part he ever played ; the 
same powerful conception of character was seen on this 
lower plane, as he evinced in Touchstone, Launcelot Gobbo, 
and other characters, emanating from the grand master. 
On the 15th of July, 1848, the season closed, with the 
same bill still in the meridian of its drawing power. 
" Jokey " brought thousands of dollars into Mr. Burton's 
treasury ; not only retrieving his losses ; but, additionally, 
giving him wealth. This engagement furnished Burton 
with the means to purchase the property in New York, 
afterwards known as the Chambers Street Theatre. At 
Burton's request, Mr. Owens went with him to inspect the 
premises, and give his opinion as to the eligibility of the 
site for a comedy theatre. They arrived in New York 
after dark, and Burton proposed that, having had supper, 
they should wend their way to Chambers street ; saying, 
" Why should we wait till to-morrow ? — it's a beautiful 
moonlight night — we can see." 



JOHN E. OWENS. 39 

Soon they were on the premises, and having stepped 
off the ground, discussed its purchase, the probable cost 
of starting the theatre — in fact, the investment in all its 
bearings, arriving at the conclusion, that it was in every 
way desirable. Thus began W. E. Burton's Metropolitan 
management, which marks an epoch in dramatic history, 
for the " Chambers Street " rapidly ranked as the leading 
theatre of New York; superbly producing not only the old 
comedies, but every new play of merit, and with a company 
of unsurpassed excellence. Burton played the leading 
comedy ; his name was a tower of strength. He made 
his first appearance in America as Dr. Ollapod in The 
Poor Gentleman at the Arch St. Theatre, Philadelphia, 
September, 1834. He began his career as an actor in 
London, appearing at the Pavilion Theatre, Whitechapel, 
as Wormwood in The Lottery Ticket Mr. Burton had 
much experience as a manager, he was also well known 
in literature, but his superlative merit was seen on the 
stage; he was a great actor. Captain Cuttle was, per- 
haps, his best part ; but in all that he did, superior 
talent shone brilliantly attractive. He was coarse at 
times, but his humor was infectious, and his command 
over an audience, something marvellous. 

But, to return to the inception of the Chambers St. 
Theatre. Burton appreciated the fact that to Owens, he 
was indebted for this rapid stride to fortune, and evinced 
the same at the conclusion of the Philadelphia engage- 



40 MEMORIES OF 

ment, by the presentation of a massive silver vase bearing 
the following inscription : 

Presented by 

WILLIAM E. BUKTON 

to 

JOHN E. OWENS 

As a memorial of his unprecedented popularity in 

the character of Jakey, in the local Drama 

of "A Glance at Philadelphia" at 

the Arch Street Theatre, 

Philadelphia, 

1848. 

The summer vacation Owens passed in New England, 
recuperating health and strength, after a long season of 
over ten months' laborious work. Returning to Balti- 
more, in September, he again signed with Hamm and 
Silsbee, for a star engagement, to be renewed if mutually 
satisfactory. In November, he retired from this contract, 
in consequence of disagreement with the managers ; he 
then rented the little theatre at the corner of Charles and 
Baltimore streets known as " The Howard Athenaeum. " 
This he inaugurated with a strong company headed by 
himself. The public responded to the undertaking by 
cramming the house nightly. 

En passant, it was here that Dolly Davenport made 
his debut. He was in the employment of S. Kirk & 
Sons, jewelers and silversmiths, under his real name, A. 




MR. OWENS as JAKEY 
In "A Glance at Philadelphia. 



JOHN E. OWENS. 41 

D. Hoyt. Becoming stage-struck, he sought an introduc- 
tion to Owens, and obtained the opportunity to try his 
power. The experiment was made as Fred Thornton in 
" The Dead Shot." I have heard him say, that the stage 
fright he experienced, amounted almost to collapse. In 
the scene where Thornton is brought on, feigning to be 
dangerously wounded, he has to rise suddenly, and 
acknowledge the ruse. When the cue came, the un- 
fortunate debutant was too frightened to move, and the 
whispered promptings of the soubrette were unheeded, 
until she stealthily stuck a pin in him, and thereby 
caused a reaction. Dolly Davenport continued under 
Mr. Owens' management, and improved rapidly ; in three 
months he was playing leading juvenile comedy accept- 
ably. 

Under the same management (at the Baltimore Mu- 
seum) George Jordan, then a printer, made his first 
appearance on the stage. He was afterwards prominent 
in the New York theatres ; and later on a favorite in 
New Orleans at La Yariete Theatre, while Owens was 
manager of that famous temple of the drama. George 
Jordan left New Orleans in 1861, for England; from 
whence he returned to this country but once; then, in 
support of Kate Bateman. 

As the year 1848 waned, Joshua Silsbee became desir- 
ous of retiring from management, and offered to sell his 
half of the Baltimore Museum to Owens. After some 



42 MEMORIES OF 

negotiation, the transfer was made. The bright, though 
brief, season at the Howard Athenseum closed January 
1st, 1849. Owens returned to the Old Museum, and 
took the helm ; the management being known as Hamm 
and Owens ; though Hamm's interest was entirely mone- 
tary, he being without experience in theatrical affairs. 
Prosperity smiled on this enterprise, and the winter of 
1849 was marked with brilliant performances, both star 
and stock. 

April 19th, 1849, Mr. Owens was married in Balti- 
more, after an engagement of three years, to Mary C. 
Stevens, daughter of John G. Stevens, Merchant, Bowly's 
Wharf. The ceremony was performed by the Eev. 
Alfred Miller, Eector of Mount Calvary Church. The 
marriage did not meet with the approbation of Mr. 
Stevens ; he being a member of the primitive Methodist 
church, and holding prejudices against a profession of 
which he really knew nothing. On the day of the mar- 
riage, whilst he was seated in his counting room, brooding 
over the shock the news had given him, Col. George P. 
Kane, an intimate friend, came in, and approaching him 
joyously, said : " Mr. Stevens, I take pleasure in con- 
gratulating you on the acquisition of such a son-in-law 
as John E. Owens. Had I daughters, I would be proud 
if they were so fortunate in the selection of a husband. 
J know Owens and his reputation, well ; he is a man who 
combines talent with a noble nature and moral integrity." 



JOHN E. OWENS. 43 

To this kindly recognition, the young couple owed 
their restoration to parental favor. Mr. Stevens had 
great faith in Col. Kane's opinion, and wisely reflected 
that his personal association with Mr. Owens was likely 
to be a basis for truer judgment than the inherited 
prejudices of Methodism. He realized this fully when 
he became acquainted with his son-in-law. A strong 
attachment sprang up between them, and increased as 
time went on. No son could have been more devoted 
than was John E. Owens to his father-in-law, to whose 
declining years he was a comfort and a blessing. 
Daughter and son shared alike, nursing him through 
his protracted and final illness. The last words spoken 
were a loving call for "my son, John E. Owens." 

I refer to these family personalities as briefly as pos- 
sible, and would not mention them at all, could they be 
omitted consistently with the continuity of my narrative. 

In May, 1849, Owens became lessee of the National 
Theatre, in Washington, for the purpose of producing 
Italian Opera on a grand scale. The troupe included 
Rossi Crossi, Susini, Strini, Amalia Patti, and many other 
luminaries ; together with a full chorus. Appreciative 
audiences attended the excellent performances given ; but, 
unfortunately, the meagreness of numbers gave little 
encouragement to the manager in his ambitious enterprise. 
The expenses incurred were heavy; the receipts, disas- 
trously light. After two weeks of ruinous business, 



44 MEMORIES OF 

Owens brought the company to the Baltimore Museum, 
inaugurating " Grand Opera " at cheap prices ; thinking 
thereby to create an excitement and pack the house ; but, 
instead of such a result, dire bad business ensued. As 
the same ill luck continued in Washington, where the 
elder Booth had followed the Opera Company, the young 
manager was losing money right and left — but he was 
not disheartened. " Buying experience," he called his 
reverses, and found a humorous side to his misfortune. 

One of his stories, in connection with that time, was 
about Rossi Crossi (director of the Opera Company). 
With excellent imitation of the Italian artist, Owens 
would relate the usual Monday interview. The terms of 
the engagement were : " a certainty, payable weekly." 
Rossi Crossi with much suavity, would receive a check 
for the amount and remark : " I am mooch desolate, to 
to be oblige* to receive dis monish, when ze people do not 
attendez ze Opera. I can recognize no reason why we 
not draw ; for I do assure you, Monsieur Owens, we are 
mooch talented." Then, he would fold the check, put it 
in his pocket and walk away, leaving the perplexed 
manager to financier for ways and means to meet the 
requirement of a repetition of the interview, a week later. 

It is impossible for me to narrate this, or any other 
story, with the effect it had when told by Mr. Owens. 
His graphic and vivid manner of relating an occurrence, 
merging his individuality into the persons of whom he 



JOHN E. OWENS. 45 

spoke, gave a reality to circumstances, and life to words, 
far beyond that obtained when one reads of, or merely 
listens to a bare recital of an incident. 

There is an end to all things ; even the intense disa- 
greeableness of losing money with a " mooch talented" 
Opera Troupe. Five weeks closed the Italian speculation, 
and relieved of this incubus, Owens resolved never again 
to indulge in operatic ventures. His experience had cost 
him dearly, but the lesson was salutary. It also recalled 
a piece of sage advice, which Mr. Burton once gave him : 
" Don't endeavor to control more than one theatre at a 
time " — albeit, Burton did not always stick to this rule ; 
for he sometimes directed two or three theatres at once, 
and invariably regretted so doing. 

The dramatic company which had been sent to Wash- 
ington to support the elder Booth, returned to finish out 
the Baltimore season. Jokey, and other popular plays 
were revived, and replenished the depleted treasury. The 
regular dramatic season closed July 4th. A fortnight 
later, Dr. Fisk rented the little Theatre for the purpose 
of giving lectures and experiments in Psychology. The 
Doctor was an enthusiast about the science, and his own 
wonderful power. He frequently importuned Owens to 
give him a private sitting, but would receive the laughing 
reply, "You can't psychologize me. I have quite as 
much power as you possess." Still, he persisted, and the 
test came unexpectedly. The lectures were over, and in 



46 MEMOEIES OF 

settling up business, there was a slight monetary discrep- 
ancy, which each thought his own due. " We will toss 
up for it," said Owens, taking a half dollar from his 
pocket. "No, no," replied the Doctor; "suppose we 
decide it another way ! Whichever one of us can psy- 
chologize the other, takes the difference." This was 
agreed upon, and in the presence of witnesses the test was 
made. The Doctor had no effect whatever upon Owens ; 
but, on the contrary, succumbed to his magnetic power, 
and after sundry satisfactory experiments, was fast asleep. 
Owens had frequent applications from persons ambi- 
tious to appear on the professional stage ; as a rule, he 
discouraged such aspirations ; believing them ofttimes to 
be inspired by the glitter of a life, whose close study and 
labor never occurred to stage-struck enthusiasts. Occa- 
sionally something out of the usual groove, would trans- 
pire, and eventuate in a droll story which Owens would 
tell with relish. One day an eccentric-looking fellow 
came to him and said, " Mr. Owens, I've been staying in 
Baltimore for two weeks on a visit, and all that while I've 
been haunting the Museum. I never did see such a funny 
chap as you be. I am a private play-actor myself, and I 
want you to hire me, so as I can ketch on to your ways, 
and astonish the folks when I go back home." " What 
have you played ? " asked Owens (who being at leisure 
just then, concluded to draw the man out, and" be amused). 
"Well, many things; but my best holt is Temperance 



JOHN E. OWENS. 47 

dramas. Put me whar' you like, so as I get a chance to 
learn your tricks." " Won't you be frightened before a 
strange audience ? " " Frightened ? just you wait till I 
get top of that staging; and you'll see, I'm middling 
easy about acting." 

By way of a frolic, Owens consented to give him a 
trial, and entrusted him with three lines to speak. He 
rehearsed fairly, and with supreme confidence; but, at 
night failed to take up his cue. The prompter gave him 
the word ; and regardless of his imploring "wait" pushed 
him on the stage, but not a syllable did he utter. After 
the fall of the curtain, Owens said to him : " I had to 
speak your lines, you were frightened ! " " No, I wasn't ; 
I was all right; but when I got fronting that there 
proscenery, something frustrated my plans. Frightened? 
No, sir-ee, not a bit." 

The Museum season of 1849-50, began September 5th. 
Eliza Logan and her father were the first stars. With 
her name, arises pleasurable recollections of a finished 
artiste, a genial companion, and a big-hearted woman ; 
whose loving nature and sterling integrity rendered her 
peerless. During this engagement, Mr. Logan appeared 
in his great success of "Aminidab Slocum" in "Chloro- 
form, or Baltimore in 1949," of which play he was the 
author. The title is suggestive of the intent of the piece. 
Aminidab (under the influence of chloroform) sleeps for 
a hundred years, and awakes to find his surroundings 



48 MEMORIES OF 

advanced in science, inventions, and various improve- 
ments. His amazement, and the misunderstandings 
therefrom, gave scope for much humor. The popular 
book written by Edward Bellamy, " Looking Backward," 
is founded on the same idea, and though of greater 
importance as a literary work, it lacks the comic element 
and wit of " Chloroform" After Eliza Logan retired 
from the stage, she gave Mr. Owens the MS. and sole 
right of the play. He always intended to include it in 
his repertoire. 

November 19th, 1849, a farce entitled, "The Live 
Indian" had its first representation. It was originally 
written by W. H. Thompson, a Baltimorean, and sub- 
mitted to Mr. Owens, with whom it found but little 
favor. He frankly told the author, that, though the 
farce had merit, it lacked originality ; the motive being 
the same as "The Mummy." "But, you might write 
up the dialogue, and make a great difference ! Put it in 
better shape," he added, "and I will play it." Mr. 
Thompson declined making alterations, wishing to effect 
an immediate sale of the MS., as he needed money. 
Taking this view of the matter, Mr. Owens agreed at 
once to give Thompson the price he named; and thus 
became owner of "The Live Indian." The play was 
laid aside for awhile, until Owens coming by chance 
across the dust-covered MS., concluded to give it another 
reading. After which he re-wrote it, altering the dia- 



JOHN E. OWENS. 49 

logue to make it more effective. Also, introducing another 
character — Miss Crinoline, a dress-maker, whom he per- 
sonated in addition to Corporal Tim, and The Live Indian. 

Miss Crinoline made the farce a success. The quick 
change (three minutes), from the dress of a gay young 
man to that of a fashionably costumed lady, was startling ; 
and (at that time) a novelty. With blonde wig, and 
stylish dress of handsome material, he came on the stage 
so soon after Corporal Tim's exit, that the audience were 
dazed ; and, until they became familiar with the piece, 
doubted the identity of the two. The dress-maker's scene, 
with old Brown and his niece, was full of telling points, 
which evoked roars of laughter. From this to the Indian 
made another striking contrast, enlivened by Owens' 
inimitable acting. But Miss Crinoline made the farce a 
hit ; without that introduction it would have failed. At 
its best, Mr. Owens never considered that it possessed 
merit, otherwise than a funny absurdity to contrast with 
legitimate pieces. In this light it was immensely attrac- 
tive and prominent. The minstrel act of " The Black 
Statue" was copied from " The Live Indian ; " and many 
other variety acts sprang into existence as popular imi- 
tations. 

Among the stars of this season, beside Owens himself, 

came Mr. and Mrs. Barney Williams, James Murdoch, 

Fanny Wallack, Charles Burke, J. P. Adams, and Oliver 

Eaymond (known as " Toots" Eaymond, from having 

4 



50 MEMORIES OF 

created that part in Dombey and Son), Charlotte Cushman, 
Couldock, Matilda Heron, Bateman children, Julia Dean, 
&c, &c. With strong stellar attraction at his little 
theatre, Owens often delegated the management tempo- 
rarily, while he filled engagements of a week or two in 
Philadelphia, Pittsburg, Washington and other cities. 

January 7th, 1850, Owens became sole owner of the 
Museum, having bought Hamm's share therein. A 
noticeable feature of this season was the production of 
" The Ocean Child/' with Owens as Peter Poultice, his 
first theatrical hit. Many new pieces were given. The 
Serious Family met with great favor ; Owens as Amini- 
dab Sleek, Mr. and Mrs. D. P. Bowers, Davenport, 
Gallagher, the Kembles and Miss Crocker (afterwards 
Mrs. F. B. Conway) in the cast. This, and other pieces, 
were played simultaneously with their production in New 
York. As I look over the play-bills of each week, a 
bright record of talent meets my eye, and the remem- 
brance of the pleasure of that period is a heritage most 
valuable. At this time, J. Madison Morton's farces were 
at the height of popular favor. Those who have seen 
Slasher and Crasher, Betsey Baker, Poor Pillicoddy, &c, 
&c, know how mirth-provoking was the language, plot 
and wit which they combined. Owens revelled in the 
subtlety and unctuousness of their humor, and every farce 
went off uproariously. One night, during a momentary 
lull in the laughter, a tall countryman arose in the par- 



JOHN E. OWENS. 51 

quette, and with his hands pressed to his sides, called out, 
" Stranger, don't make such good fun ; I'm weak ; for 
IVe laughed all over." The audience gave the rustic a 
round of applause. 

In November, an offer was received from John 
Brougham, to play at the theatre then being constructed, 
corner of Broadway and Broome street, New York, which 
was to be inaugurated January, 1851, under the name of 
" Brougham's Lyceum," and managed as a stock theatre, 
no member being made a feature on the bills, although 
most of the company were stars. Mr. Owens accepted 
the offer, and this was his debut in New York. He 
played there two months, and became a leading favorite ; 
but his crowning success was won in the part of Uriah 
Hcep, for which he was cast when Brougham put David 
Copperfield on his stage, at the same time it was produced 
at Burton's Chambers Street Theatre. The two dramati- 
zations were essentially different. That used by Mr. Bur- 
ton being arranged by Dr. Northal, and Mr. Brougham's 
adaptation being his own work. A strong array of talent 
appeared in both. I subjoin the casts : 

BROUGHAM'S LYCEUM. 

JANUARY, 1851. 

David Copperfield Mr. David Palmer. 

Uriah Heep Mr. John E. Owens. 

WlLKINS MlCAWBER Mr. JOHN BROUGHAM. 

Daniel Peggotty Mr. H. Lynne. 



52 MEMORIES OF 

James Steerforth Me. J. Dunn. 

Betsy Trotwood Mrs. Vernon. 

Mrs. Steerporth Mrs. Dunn. 

Eose Dartle Miss Kate Horn. 

Mrs. Micawber Mrs. W. E. Blake. 

Little Em'ly Mrs. Geo. Loder. 

Agnes Wickfield Miss Mary Taylor. 

Martha Mrs. Lynne. 

BURTON'S CHAMBERS ST. THEATRE. 

JANUARY, 1851. 

David Copperfield Mr. Jordan. 

Uriah Heep Mr. Johnston. 

Wilkins Micawber Mr. Burton. 

Daniel Peggotty Mr. Blake. 

James Steerforth Mr. Lester. 

Betsy Trotwood Mrs. Hughes. 

Mrs. Steerforth Mrs. Holman. 

Eose Dartle Mrs. Eussell. 

Mrs. Micawber Mrs. Skerrett. 

Little Em'ly Miss J. Hill. 

Martha Miss Weston. 

The character of Uriah Heep did not belong to the line 
of business for which Owens was engaged. A villain, and 
an extremely mean one was Uriah ; in sharp contrast to 
the comic portrayals which had made Owens popular in 
New York. But he determined that Uriah Heep should 
strengthen instead of weaken his hold upon the public. 
Close study of the "umble" clerk, resulted in a wonder- 
ful creation. The make-up was perfect, and so was his 



JOHN E. OWENS. 53 

manner and gait. In every detail, he gave artistic ren- 
dition of this obnoxious character, which surprised even 
his warmest admirers. 

The press rendered unanimous commendation. Many, 
and lengthy, were the criticisms, from which I quote only 
a few lines', to indicate the general tone. 

"The slimy, squirming nature of the 'umble clerk 
was powerfully shown. The stage cannot boast of any- 
thing more truthful and effective." 

" Owens' embodiment of the part of Uriah JETeep is 
sufficient to establish his position as a great and extraor- 
dinary actor. It shows the creative power of genius, and 
is the truest representation of any character in the novel. " 
&c, &c. 

During the run of David Copperfield, a friend met 
Owens on the street, and said : " John, I don't like you 
at all in that part of Uriah Heep ; not at all ! " "I am 

sorry, for that, E ," replied the comedian ; "I value 

your opinion highly. What do you object to?" " Every 
bit of it ; but, principally to the scene where you make 
love to Agnes Wickfield. When you attempt to take the 
girl's hand, I hate you so, that I'd like to kill you. 
Sneaking hypocrite ! " " My dear friend," laughingly 
said Owens, "the entire press of New York has not paid a 
higher compliment to my acting than you have ; by thus 
identifying me with the character I assume. Thank you 
very much, for your unconsciously encouraging criticism." 



54 MEMORIES OF 

Thomas Hamblen, manager of the Bowery Theatre, 
came to Owens, after seeing him play Heep, and offered 
a large certainty or good sharing terms, if he would sign 
with him, to star in Shylock, and Sir Giles Overreach. 
" Drop comedy," he said ; " you have struck the keynote 
of your forte. I've seen nothing to surpass this masterly 
performance." Though appreciative of approbation so 
alluring, Owens could not be prevailed upon to forsake 
comedy. I would here remark that the engagement at 
Brougham's Lyceum, was the first stock company Owens 
had joined since he became a recognized star. All 
through his brilliant career he, afterwards, at times, made 
these restful breaks from the fatigue of travelling, or 
tedious rehearsals with new companies ; but it was always 
when surrounded with prominent artists, never on any 
occasion as support to a star. More than once, he made 
a New England tour in combination with E. L. Daven- 
port, William Wheatly, George Ryer, John Gilbert, and 
others of eminence. With an equally strong association 
he played four months in Boston, under the management 
of Jacob Barrow. When lessee of the Varieties Theatre, 
in New Orleans, in ante-bellum days, Owens conducted 
the place on the stock company system, to the exclusion 
of starring. So it was, in the same theatre, when it was 
known as the Gaiety, under Dion Boucicault's manage- 
ment ; where Owens was regarded as " the highest salaried 
actor " ever known in this country. I have often heard 



JOHN E. OWENS. 55 

him say, that the comfort of being surrounded by talent, 
and certainty that every part would be well played, was 
indescribable. 

The last of his restful departures was made when he 
joined the Madison Square company, 1882-83. These 
voluntary releases from care and responsibility, never 
interfered with his stellar brilliancy, which he resumed 
at pleasure. Another great comedian had the same 
method. Charles Matthews, during his last visit to this 
country, played a stock engagement with Barrow, in Bos- 
ton, and also with Wallack, in New York ; starring in 
other cities during the interval. Whilst these stock 
engagements were not so profitable, they were vastly 
more pleasant, and a luxury worth indulging in by those 
who could afford it. But, I have wandered from Uriah 
Heep ; however, there is but little more to say. Owens 
remained in New York two months, following up this 
great hit with others in legitimate comedy. He returned 
to his own theatre, well satisfied with his first Metropoli- 
tan engagement. During the spring of 1851, David 
Copperfield was presented to the Baltimore public, Owens 
repeating his success as Uriah Heep ; and later on playing 
Wilkins Micawber, a part, by the way, which he greatly 
enjoyed for its unctuous humor, to fully develop it 
being just to his taste. 

Following these Dickens dramatizations, came the 
spectacle of the Forty Thieves, with Owens as Ali Baba. 



56 MEMORIES OF 

Bather a venturesome production, considering the small- 
ness of the Museum stage. That able scenic artist, 
Charles S. Getz, did his best in the way of scenery and 
effects ; but a difficulty arose, which appeared formidable. 
There was no space for forty thieves on that stage ! Not 
foothold for half the number. To overcome this dilemma, 
an additional speech was given to Abdallah, captain of 
the robbers. Upon his entrance, closely followed by Jive 
robbers, he cries, "halt!" and impressively adds, "The 
rest of the band will remain in the wood." Happy 
thought! which quite reconciled the audience to the 
absence of the thirty-five thieves. Owens was intensely 
amused at the absurdity of the expression " the rest of the 
band will remain in the wood." Ever afterwards, it was 
used, apropos of any incompleteness that occurred, either 
at the theatre, home, or elsewhere. For some weeks 
Owens had been importuned by an acquaintance (a young 
lawyer of Baltimore) to produce a play written by him- 
self, entitled, "Gammon and Backgammon" Always 
ready to lend a helping hand to aspiring youth, Owens 
promised to consider the request and if possible comply 
with it. He read the manuscript, and realizing that 
alterations were indispensable, pruned and shaped the 
play to make the most of its resources. A strong cast, 
thorough rehearsals, and the concentrated efforts of the 
dramatis personse resulted in Gammon and Backgammon 
being worked up into a success so far beyond its merits 



JOHN E. OWENS. 57 

that everyone thought the author would be delighted. 
On the contrary, when called before the curtain, instead 
of making grateful acknowledgments, he denounced Mr. 
Owens and the company for mutilation of, and general 
injustice to, his play. 

The audience received these remarks in silence, but the 
moment he concluded called loudly for "Owens!!" who 
immediately appeared and quietly stated, that " the piece 
had received far better treatment from himself and the 
company than it deserved. He had omitted the marriage 
service, and expurged much coarse dialogue, thereby 
rendering the play admissible for representation. Those 
who desired to satisfy themselves on these points could 
do so by inspecting the original manuscript at the Box 
office on the morrow." All through this explanation, 
Owens was from time to time interrupted by applause 
and expressions of approval ; subsequently the author's 
work intact was examined by many citizens, with the 
result of concurrence in Mr. Owens' opinion, and com- 
mendation of his position. Thus ended the dramatic 
authorship of a gentleman who turning his ambition 
in another channel, became later on a distinguished 
lawyer and a leading politician. He frequently said, 
that he could complacently take a retrospective glance 
at his career except for "Gammon and Backgam- 
mon" the folly of his youth, and of that he was 
ashamed. 



58 MEMOEIES OF 

The first night having proved also the last night of 
the new play, The Serious Family and other attractive 
pieces held the boards until the date of the next star 
Julia Dean. An even run of prosperity continued until 
the close of the season, July 5th, 1851 ; and the following 
year was a repetition of satisfactory management, and 
successful starring visits to neighboring cities. 



CHAPTER III. 

Ascent of Mont Blanc — A charming entertainment — A deluded Quaker 
— " Thee don't say so ? " — Engaging David Garrick — Managerial 
changes — Baltimore & Ohio Railroad site — Owens becomes a farmer 
— Description of Aigburth Vale — -Erroneous idea of a fertilizer — 
Dramatic portraits — Edmund Kean — Neagle — " Shakespeare's bust 
at Aigburth Vale" — Charles Street Theatre, season of 1854-55 — 
Edwin Adams — Caroline Richings — Mr. and Mrs. G. C. Howard 
— " Uncle Tom's Cabin " — " Make or break " — Owens as Uncle 
Tom— John Sleeper Clark — Replenished coffers and new laurels — 
Season 1855-56 — Gaiety Theatre — Dion Boucicault — Agnes Robert- 
son — Fred. N. Thayer — The Keller troupe— Rubens' Altar piece — 
— Azael — Crude geography — The schoolmaster abroad. 

OWENS passed the summer of 1852 in European 
^ travel, most of the time on the continent. While 
in Switzerland he made the ascent of Mont Blanc. The 
London Times, in a long descriptive article about the 
achievement, remarked : " Mr. John E. Owens is the 
first American who has accomplished that undertaking 
for upwards of twenty years." At the present day the 
ascent of Mont Blanc is not so infrequent or so hazardous 
as it then was. Owens intended his summer tour simply 
for recreation, but en route he met with so much that was 
amusing and characteristic, that he determined to combine 

59 



60 MEMORIES OF 

these experiences with the greater and grander ones of 
his tour, and so, form an entertainment, on his return to 
America, which would prove attractive. On this basis 
originated his " Alpine Rambles" which met with such 
great success in 1853 ; commencing in Baltimore, thence 
to New York and Philadelphia. 

The entertainment was novel, and also one of the 
cleverest and most effective ever inaugurated; the de- 
scriptive monologue being illustrated by superb paintings, 
copied from drawings taken (under Mr. Owens' direction) 
at the various localities presented. Some of these pictures 
were painted by James Hamilton, so celebrated for marine 
views, others by Hilliard, whose landscapes have rendered 
his name prominent among artists, but the principal part 
of the work was executed by Charles S. GJ-etz, in a beau- 
tiful and finished style. These, combined with optical 
illusions, incidental music and songs, rendered the effect 
entrancingly realistic — not at all like the usual panoramic 
representation. The tour presented, embraced a rapid 
journey; starting from New York, per ocean steamer, 
visiting England, and making brief stops at Dieppe, 
Paris, Boulogne, and all places of interest in Switzerland ; 
concluding with the perilous ascent of Mont Blanc ; then, 
returning homeward. 

No dry description of travel was given, but graphic 
and vivid delineations, and information delightfully 
blended with original anecdote and humorous impersona- 



JOHN E. OWENS. 61 

tion of his compagnons du voyage; characteristics and 
adventures, of people with whom he travelled, were 
wittily and brilliantly reproduced : and being woven into 
a slight plot, interested the auditors, and made them feel 
that they quite knew these chance acquaintances. The 
written dissertation is one hundred and fifty pages ; so I 
give only a condensed account of an entertainment which 
is something to be remembered through a lifetime, by 
those who had the privilege of enjoying it. An aggrega- 
tion of fun, fancy, sublimity, and sentiment, agreeably 
and skilfully intermingled with dramatic effect. 

Peculiar gifts are requisite to hold an audience en- 
tranced by one's individual efforts through an entire 
evening ; and this was achieved by Owens with his 
"Alpine Rambles " — as attested by the laudations of the 
daily press in the various cities, and the crowded houses 
which nightly applauded him. A ludicrous equivoke 
occurred while Mr. Owens was giving the "Alpine 
Rambles " in Philadelphia. A dear old uncle of mine, 
born and reared a Quaker, and still continuing to wear 
the primitive garb and broad brim of that sect, called to 
see Mr. Owens, and was, of course, cordially welcomed. 

After some pleasant converse, he said : " John, I hear 
that thee has quit play-acting for the present, and are 
telling folks about thy travels. It is said that thy dis- 
course is very interesting." After modestly replying on 
the merits of the entertainment, Mr. Owens, briefly, gave 



62 MEMORIES OF 

the old gentleman an idea of the manner in which it was 
presented ; adding, " Many people attend, who do not go 
to theatres, and I would like to see yon and your family 
there. It will give me pleasure to send you tickets." 
" Thank thee, John, very much, but may I ask thee ; do 
many friends come to see thee ? " " Yes, indeed," said 
Mr. Owens, thinking that uncle took a family interest in 
his success. Looking pleased, the simple-hearted soul 
rejoined, "How many does thee think was there, last 
night ? " " Well, about fifteen hundred ; maybe more." 
"Thee don't say so, John ! Does thee really mean it?" 
" Certainly," replied Mr. Owens, at a loss to account for 
the astonishment with which his assertion was received. 
A few minutes later, the old gentleman arose to leave, 
saying, " I shall be glad to hear thee talk of thy travels, 
John, and I shall not feel strange in thy public hall." 

Pondering on the final words, Mr. Owens was some- 
what puzzled to understand them. Afterwards, it occurred 
to him that uncle used the word "friends" as a synonyme 
for " Quakers." Mr. Owens, understanding it in its 
literal sense, had unintentionally included an entire 
audience in the " Society of Friends." He used to say, 
laughingly, that the gentle old Quaker doubtless con- 
sidered his new nephew a deliberate falsifier; or, else 
inferred that the Quakers of Philadelphia had rushed en 
masse to the entertainment during its early production, 
and thenceforth given it over to " the world's people." 



JOHN E. OWENS. 63 

Descanting upon the "Alpine Rambles" I have gone 
somewhat in advance of my narrative, as the entertain- 
ment was not presented until January, 1853, and Owens 
returned from Europe, October, 1852, resuming active 
management of the Baltimore Museum ; where the season 
had commenced a month previous, under delegated super- 
vision. In December, 1852, Henry C. Jarrett expressed 
a desire to buy the Museum. Owens consented to con- 
sider the proposition made; reflecting that, relieved of 
managerial responsibilities, he would be freer to give 
ample attention to the " Alpine Rambles " entertainment ; 
and also (later on) to farther extend his professional tours. 
He was not altogether averse to selling the little Museum, 
notwithstanding it had been both profitable and pleasant 
to him. After frequent interviews and discussions, the 
transfer was made. 

In connection with the preliminaries thereof, some 
amusing episodes occurred. Mr. Jarrett calling one day 
at Owens' house, was accompanied by a friend — possibly, 
a silent partner in the impending investment ; but not in 
other respects was he mute. Gazing at a portrait of 
David Garrick, he asked Owens : " Who is that fellow ? " 
" Garrick, the tragedian/' was the reply. " Garrick ! 
Garrick ! I never heard of him ; amount to much ? " 
" Very celebrated." " Could Harry get him to play at 
the Museum ? " " No ; that would be impossible." Mr. 
Jarrett, by this time, was covered with confusion, and 



64 MEMOEIES OF 

made wild endeavors to drown the voice of his friend ; 
but soon again he was heard, eagerly saying, " Oh, Harry, 
don't forget to ask Mr. Owens where you can hire hands 
to dance." " Yes, yes," responded Jarrett, imploringly, 
" please don't interrupt us again." 

Owens made his final appearance at the Baltimore 
Museum on the 30th of December, 1852, after having 
been its manager for four years. His farewell and com- 
plimentary benefit packed the house and hundreds were 
turned away. At the conclusion of the performance, in 
response to vociferous calls, he appeared before the cur- 
tain, and in his speech was frequently interrupted by 
applause. Adverting to having transferred the Museum 
to Mr. Jarrett, he asked for that gentleman an extension 
of the kindness which had so long and so generously been 
bestowed upon himself, as a manager. A few more 
words of heartfelt acknowledgment, and the final " good- 
bye " was spoken. Mr. Jarrett took charge of this pros- 
perous little theatre, January 1st, 1853. In 1856 he sold 
the Museum to Mr. George Zeigler ; but by that time it 
had lost prestige. The collection of paintings and curiosi- 
ties were purchased by Mr. Charles S. Getz, who dis- 
tributed the works of art that were left, among the 
different public institutions throughout the country. 

The amusements henceforth offered at this place, were 
of the variety show and concert hall order ; and were not 
given continuously. In 1872 the building was totally 



JOHN E. OWENS. 65 

destroyed by fire, thus obliterating one of the land- 
marks of Baltimore; for the "old Museum" was fraught 
with reminiscences inseparable from many remarkable 
events. During the following year the Directors of 
the Baltimore and Ohio Railroad purchased the site, 
together with adjacent ground, and erected a magnifi- 
cent edifice for the use of the company. I have already 
recorded Owens' enterprise of " Mont Blanc " and 
" Alpine Rambles" 

In February, 1853, he bought Rock Spring farm — 198 
acres — six and a half miles from Baltimore. He changed 
the name to " Aigburth Vale ; " and, from time to time, 
added more acres to the original purchase, improving the 
farm agriculturally, and building a mansion which was 
surrounded with ornamental shrubbery and grounds de- 
signed by exquisite taste in landscape gardening. In 
fact, he transformed a good plain farm into one of the 
most beautiful and magnificent estates in Baltimore 
county. He would often say, " Every man must have 
his hobby, and mine is harmless. Spending money on 
my country residence entertains me, and the improve- 
ments I make gives work to people who need it." I 
cannot better convey an impression of the place that was 
John E. Owens' home for nearly thirty-four years — 
where he ended his life — than by condensing a description 
of Aigburth Vale, contained in a letter which appeared 
in a Washington paper, during August, 1877. 
5 



66 MEMORIES OF 

" The home of John Owens lies to the north of Balti- 
more about six miles, on the verge of the little village of 
Towsontown. You reach it by a lovely road, displaying 
a mixture of all pictorial ingredients which give such 
enviable distinction to Maryland scenery. The greatest 
variety of trees, crowded together with picturesque aban- 
don, variegate the perspective. At last, we reach a broad 
gate which is pointed out as Mr. Owens' grounds. On 
the left, as we enter, is a stretch of clear meadow, to the 
right, a waving cornfield. Nothing more can be seen till 
we saunter along the avenue of smiling maples, for per- 
haps four hundred yards, when the road suddenly droops 
and bends, and we stand in full view of a stately manor 
house nestling in the valley below. Descending by a 
winding path, the visitor passes through grounds culti- 
vated with charming skill, and laid off into plats of 
diamond and semicircle, fringed with loveliest parterres. 
Dainty bits of country gardening, watched and defended 
by sentinel elms, make up the immediate surroundings 
of Aigburth Vale. Around this charming scene, at a 
respectful distance, is a circle of green hills. 

"Mr. Owens has lived here since 1853; loving his 
country home so well, that he has gradually extended it, 
until now he is monarch of nearly three hundred acres. 
Here, from the rare June days, at the close of the season, 
till the September revival on the boards, Solon Shingle 
doffs his footlight regalia, and plays farmer. 'My 




% 



' 







JOHN E. OWENS. 67 

country friends/ says the comedian, with a droll sense of 
feeling hurt, ' call me a dandy farmer. Bless their sweet 
souls ! they don't realize the struggles I make to become 
one of their craft ! ' To indulge in an agricultural meta- 
phor, the tale is rather harrowing. In his early country 
experience his farm manager came to him one day, and 
asked for thirty dollars to buy a fertilizer. He got the 
money, and Mr. Owens made a memorandum of the 
purchase. On his return from a starring tour his thoughts 
became violently bucolic. He looked over his books, and 
took an inventory of his stock and material. Among 
other things he wanted to know where that thirty-dollar 
fertilizer was ? ' Out in the field, yonder/ was the 
reply. Out sauntered the bucolic Shingle to inspect 
the new farm implement. Finding nothing that met 
his views of a fertilizer, he came back at a quick 
pace, wondering whether the faithless servant should 
be shot or hung. 

" ' James, you want to show me that fertilizer now 
p — d — q — .' ' Lord ! Mr. Owens, how can you see 
it when its all been harrowed into the ground.' The 
crushed comedian whistled his way back to the house 
with his thumbs digging into his ribs. 

" When his friends call, he sets out milk and champagne, 
with the tearful request that they will take champagne, 
because it doesn't cost as much ; and he calculates that 
he swallows a dollar bill with every Royal Trophy 



68 MEMORIES OF 

tomatoe. The expense of producing his delicious fruits 
would paralyze the ambition of most people ; but he 
keeps reaching out after the choicest and rarest varieties. 
When the end of the year comes, and he finds he 
must enter up the balance on the off side of his Aig- 
burth Yale ledger he is quite content. The pastime 
is expensive, but delightful. To say that his plod- 
ding neighbors refuse encouragement, would be unjust. 
i Their sympathies appear to be directed chiefly to my 
hennery/ says the actor, 'for they often write to me 
about " Egg-birth." ' 

" The house is very large, generously constructed with 
all modern improvements, and is far handsomer than any 
other in the region around. A piazza runs the entire 
length of the southern or principal front, and the wings 
are tastily finished off with gables. The comedian's 
sanctum, on the right as you enter the wide hall, is a 
large apartment, and opens into a cozy smoking room. 
Over the well-filled bookcase is an oil copy of Droeshout's 
Shakespeare. The walls are entirely covered with paint- 
ings and engravings of celebrated actors and authors. 
One space is filled by the life-size half figure of the 
comedian as Solon Shingle, by the painter, Cross ; another, 
three-quarter figure of Br. Ollapod, by D' Almaine ; both, 
wonderfully realistic pieces of work in expression, dra- 
pery and coloring. 

"The furniture is rich and solid, not gaudy. Good 



JOHN E. OWENS. 69 

taste prevails in all things. The walls of the hall are 
hung with the portraits of characters once famous on the 
English and American boards. To one of these the 
comedian points with especial pride as the only portrait 
ever taken of Edmund Kean. This dramatic giant 
(physically he weighed but 110 pounds) had an anti- 
pathy to picture makers, and would never grant them 
a sitting. When Kean was playing an engagement at 
Philadelphia, the painter Neagle determined to steal a 
march on the great tragedian. By connivance with Mr. 
Lee, his manager, the painter was present at a banquet, 
given privately to Kean. Lee had surreptitiously brought 
the costume for Richard the Third, and Neagle was, in 
like manner, supplied with canvas, paints, &c. Under 
the melting influence of champagne, Kean was persuaded 
to make an exception just once, under promise that it 
would only take a few minutes. Neagle seized the oppor- 
tunity and his brush ; and, as a consequence, this vivid 
likeness of Edmund Kean was created. 

" To the right and left of this cherished gem, hang the 
portraits of Mr. and Mrs. Duff, Macready, Foote, Mrs. 
Darley, Mr. and Mrs. Francis, and many more ; all being 
the work of the celebrated artist, Neagle (who, it will be 
remembered, was the son-in-law of the famous painter, 
Thomas Sully). A great variety of choice landscapes 
hang in parlor, sitting-room and dining-room, represent- 
ing French, Flemish and English art, as well as our own. 



70 MEMORIES OF 

Take it all in all, Aigburth Yale is a home which reflects 
the refined taste and generous nature of its owner. It is 
not necessary to tell the members of the theatrical profes- 
sion that John E. Owens, during his many years of 
experience and success on the stage, has done very many 
acts of kindness towards his professional brethren. They 
have a grateful realization of the fact ; and they will have 
to let it be known, for he never will. The vicissitudes 
he has passed through — for, of course, he has had his 
share of them — only give sauce to his quiet charity and 
relish to his present lot. At the age of fifty-three he has 
c reached the haven of happiness, financial, domestic, and 
professional ; the richest actor in America, and apparently 
the most contented and jolly man. 7 " 

Speaking of the dramatic portraits in Mr. Owens' 
library, I am reminded of an incident relative to the 
bust of Shakespeare, occupying a prominent place in the 
sanctum. Within a week of its being placed there, 
among other guests spending the day at Aigburth Vale 
was William P. Preston, a distinguished lawyer, of Balti- 
more ; and for many years an intimate friend and neigh- 
bor, his country home being near ours. Mr. Preston was 
an art connoisseur ; and during the after-dinner chat, 
expressed great admiration for the new acquisition. Much 
Shakespearean conversation ensued, whiling away the 
time delightfully. A day or two afterwards, Owens 
received from Mr. Preston the following lines : 



JOHN E. OWENS. 71 

Shakespeare's Bust at Aigburth Vale. 

" In ancient days in good old Kome, 
Each household gave its god a home ; 
Then well may Avon's bard divine, 
At Aigburth claim a hallowed shrine. 
Here, when the Thespian fires scarce gleam, 
The world's comedian reigns supreme. 
With health and plenty fully blest, 
Dispensing comfort to his guest ; 
At festive board, with dainties crowned, 
Passing the social glasses round ; 
And, while the heart with rapture beats, 
Eehearsing Thalia's brilliant feats. 
Long may he reign ; and long dispense 
His learning, wit, and common sense. 
While pious cant dare not assail 
The household god of Aigburth Vale." 

The autumn of 1854 Owens devoted entirely to farm 
life, making a visit now and then to the city. Early in 
1855 he played in Baltimore, Washington and Phila- 
delphia ; cancelling later engagements in New York and 
other cities, on account of the serious and prolonged 
illness of his wife. The ensuing summer was passed, 
partly at the Greenbrier White Sulphur Springs, Va., 
and finished at his country home. And here I would 
remark, that his rural life was not only an enjoyment to 
himself, but productive of good and happiness to many. 
He was the poor man's friend ; administering help in 
such a delicately adroit manner, that no sense of humilia- 



72 MEMORIES OF 

tion was experienced by the recipient of benefits bestowed 
by his bountiful hand. Unobtrusively thoughtful of the 
welfare of those who needed work or help, he quietly 
relieved want, and sympathetically alleviated suffering. 
A contribution, with the loud blast of subscription paper 
notoriety, he abhorred; but the same cause he would, 
privately, aid largely. The working people, of Baltimore 
county, regarded him as their true friend; and acts of 
kindness were as essential to his life as the breath he drew. 
At home and abroad, wherever he has sojourned, many 
arise and call him blessed. The brightest stars in his 
eternal crown are the good deeds so lavishly and disinter- 
estedly done on earth. 

The season of 1854-55 finds Owens again a manager 
in Baltimore, he having leased the Charles Street Theatre, 
corner of Baltimore and Charles streets. The Company, 
headed by himself, comprised much talent — Mrs. D. P. 
Bowers, Charles Walcot, Sr., and his wife, Norton, Colin 
Stuart, Miss Gaszyneske, &c, &c. The opening bill was 
Tobin's " Honeymoon" and " Turning the Tables" Only 
moderate encouragement met the new Theatre — full 
houses sometimes, but the average was not good. The 
comic interlude " Villikins and hys Dinah" (which he 
re-wrote), sung inimitably by Owens, created a sensation, 
and went far to bring up the business. The song itself 
amounted to nothing, but was made irresistibly funny by 
the quaint manner of rendering it. The mock gravity 



JOHN E. OWENS. 73 

attached to the importance of remembering that there was 
& front garden and a back garden, and the tragic injunc- 
tion to the audience not to become confused in these 
localities as the action of the song progressed, together 
with the comic solemnity of pauses to explain matters 
clearly, was ludicrous beyond description. 

It was at this theatre Edwin Adams made his first 
histrionic mark as Edward Mapleton in " The Merchant 
and his Clerks." He developed such force and emotional 
power that Mr. Owens advised him to devote attention 
to tragedy, feeling sure that his talent was great for that 
line of the drama. The company was further strengthened 
by Caroline Bichings and her father, " Yankee Locke," 
and others ; new pieces, well staged, were tried, but the 
desired result — good business — did not ensue. 

In March, Mr. and Mrs. G. C. Howard and little 
Cordelia Howard were announced in "Fashion and 
Famine." The piece was well gotten up and strongly 
cast, but proved a failure, drawing only dismally slim 
houses. " Hot Corn " and the " Lamplighter " followed, 
but effected no improvement in the business. Mr. and 
Mrs. Howard said little Cordelia was sick ; no wonder, 
so was the manager (with depression). The Howards 
retired for awhile, and Owens, supported by the stock 
company, filled in the time with the result of better 
houses for a few nights ; but the change was only spas- 
modic, a cloud of ill-luck seemed to have settled over the 



74 MEMOKIES OF 

theatre, and the manager was losing money hand over 
hand. 

At this crisis Owens thought of the dramatization of 
"Uncle Tom's Cabin" then a great success, north. He 
purchased the right of the play for Baltimore, and after 
careful reading of the manuscript, made some alteration 
in the text and situations. To present to a Baltimore 
audience the original play intact, would, at that time, 
have been a hazardous proceeding. When " Uncle Tom's 
Cabin " was underlined, Owens' lawyer (also an intimate 
friend), William P. Preston, came to him and urgently 
implored that he would forego the production of the 
piece, saying : " You will ruin yourself with the ' South/ 
and get into all sorts of trouble ; the people will tear the 
theatre down or do you a personal injury." Though 
holding his friend Preston's judgment in high esteem, 
Owens was not, in this instance, to be dissuaded from his 
purpose. Desperate cases require desperate remedies ; 
and with the consciousness of empty coffers the emergency 
was a case of " make or break." The dramatization of 
" Uncle Tom's Cabin " was revised ; all that was glaringly 
obnoxious to southern sentiment modified, and some of 
the parts were re- written. 

The role of Marks, the Lawyer, was assigned to John 
Sleeper Clarke, and he made a decided hit ; so pronounced 
that he started out on his career upon the strength of it. 
The part was crammed with fun and frolic, and the result 



JOHN E. OWENS. 75 

was immense; the people laughed so uproariously over 
Clark's mishaps, as Marks, that they lost sight of the 
more solemn slavery element. Owens played Uncle Tom 
(something not at all in his line). He undertook the part 
to strengthen the bill, and also to be on the spot should 
any trouble take place. The following is the initial cast : 

BALTIMORE. 
CHARLES STREET THEATRE. 

APRIL I6TH, 1855. 

Uncle Tom John E. Owens. 

George Harris Colin Stuart. 

Simon Legree Edwin Adams. 

St. Clair G. C. Howard. 

Marks, the Lawyer John Sleeper Clarke. 

Gumpton Cute John O'Brien (Jno. T. Eaymond). 

Deacon Perry Joseph Parker. 

Topsy Mrs. G. C. Howard. 

Aunt Ophelia Mrs. Jane Germon. 

Eliza Harris Mrs. Parker. 

Marie St. Clair Miss De Vere. 

Eva Little Cordelia Howard. 

This was the first presentation of " Uncle Tom's Cabin " 
south of Mason and Dixon's line, and I doubt if it has 
ever been better played. Owens made a tremendous hit 
as Uncle Tom, and the entire play set the town wild with 
delight and admiration • this success retrieved the heavy 
losses of the season. Owens had no sectional feeling in 
regard to the play, and the Baltimoreans accepted it as 



76 MEMORIES OF 

given, packed the house, and thus filled the hitherto 
attenuated treasury. 

The season of 1855-56 was a restful and delightful 
one, passed in New Orleans, at the Gaiety Theatre, Dion 
Boucicault, Manager; this (like "Wallack's" in New 
York) was conducted solely with a stock company, com- 
prising John E. Owens, Dion Boucicault, Agnes Robert- 
son (Mrs. Boucicault), Jessie McLane, James Brown (the 
original Robert Macaire), Mrs. Place, Johnston, Frazier, 
Morton, and Fred. N. Thayer ; the latter being leading 
man. The old friendship of 1846, between Thayer and 
Owens, was revived ■ and henceforth had no lapse from 
close intimacy. Nearly ten years had passed, since Owens' 
first visit to New Orleans ; but he now felt quite at home, 
so cordial was the welcome extended to him. His old 
friends had kept themselves posted as to his steady advance 
in histrionic fame, and rejoiced at the position he had 
attained. At once he achieved general popularity with 
the public, both in legitimate comedy and lighter drama. 

Mr. Boucicault' s aim was to give the theatre a brilliant 
position ; the plays were always thoroughly rehearsed and 
faultlessly produced ; he was a strict disciplinarian, and his 
system produced satisfactory results. Infringement on the 
rules of the theatre seldom occurred ; although the com- 
pany, among themselves, were much given to having " a 
bit of fun/' which sometimes verged on practical joking. 
They were a merry set, and derived amusement from 



JOHN E. OWENS. 77 

slight causes, as is evinced by the following incident : 
Mr. Thayer, while rehearsing for "John Dobbs" in the 
farce of that name, remarked : " The business of this part 
calls for piano playing ; I am not a musician." " Only 
a few bars needed," said the Stage Manager. " Stoepel 
can indicate the keys by having figures pasted on them ; 
strike in rotation as numbered, and there you are, all 
right!" 

The plan worked admirably at first, but on the third 
night, when Mr. Thayer took his seat at the piano, with 
self-confident manner, he discovered to his horror that 
the keys were quite free from numbers. It broke him 
up, momentarily ; but rallying, he picked out " Days of 
Absence," in faltering tones, and retired ingloriously. 
For awhile he was uncertain as to the perpetrator of the 
joke ; but reflecting that Owens and himself were wont 
to play pranks upon each other, he taxed the comedian, 
who freely confessed, aud made the amende honorable; 
so they adjudged it, "give and take," and cried quits. 

The Keller Troupe arrived in New Orleans from 
Havana. At the Tacon Theatre they had created a 
furore, the fame of which had preceded them, and an 
engagement was speedily made with Boucicault. Their 
exquisite tableaux have never been exceeded in beauty, 
grace and picturesqueness : " The Birth of the Flowers" 
" The Battle of the Amazons," " The Shower of Gold," 
and dozens of other dreams of loveliness were charm- 



78 MEMOEIES OF 

ingly and purely represented. They also reproduced 
Rubens' great Altar piece ; three pictures of the Cruci- 
fixion, Bearing the Gross, The Ascent of the Cross, and 
The Last Sigh. The effect of these representations on 
the audience was that of intense solemnity. I am sure no 
irreverent thought intruded, as they gazed with breath- 
less awe, realizing the Bible story with deeper feeling 
than reading it ever evoked. The tableaux of "The 
Crucifixion" were given nowhere in America, except New 
Orleans ; when the Kellers went thence on their tour 
through the country, all other cities protested against 
what was denounced by the majority of the public as a 
sacrilegious representation. 

While the Keller troupe were at the Gaiety, Mr. 
Boucicault got up, magnificently, "Azael, or the Prodigal 
Son" which afforded ample opportunity for superb 
grouping and tableaux. Agnes Robertson, F. "N. Thayer, 
and most of the Company were in the cast ; but, being a 
biblical drama, there was no comic part for Owens, so he, 
for the nonce, became a gentleman of leisure. After 
awhile, the manager grew restless under this state of 
affairs, and "didn't see why the largest salary ever 
given to an actor should be drawn for naught ; " so he 
decided to have Owens sing Villikins and hys Dinah, 
after the curtain fell on "Azael." I am not certain but 
what he half inclined to have it sung between the acts. 
Rather an incongruous entertainment ! However, supple- 



JOHN E. OWENS. 79 

meriting "Azael" may have arisen from a desire to 
strengthen the attraction, as the biblical drama did not 
meet with much favor, notwithstanding its magnificent 
setting, costuming, artistic effect and clever acting. 

In those days New Orleans was filled with strangers, 
during the winter, and "AzaeV was rather beyond the 
understanding of some of the audience — if one might 
judge from remarks overheard. As for instance, after 
the curtain fell on one of the grandest scenes, " Temple at 
Memphis" a rural party, discussing the play, agreed that 
it was altogether incorrect. " There is no such building 
there," said one. " No ; nor do they dress that way in 
Memphis," rejoined another. " We have been there often 
enough to know something about the town." The school- 
master was evidently abroad when Egypt and Tennessee 
could be thus confounded. 

At the termination of the " Keller " engagement the 
management returned to the standard plays and comedies. 
The public responded to this change with a heartiness 
which indicated that they had experienced a surfeit of 
tableaux and spectacular drama. Nothing of marked 
nature occurred during the remainder of the season, the 
close of which took place March 12th, 1856. 



CHAPTEE IV. 

Owens in Paris— A lesson in French—" Say nothing about the bridges " 
— 1856-57 — " Solon Shingle " for the first time — Original inspiration 
of character — Jefferson's Kip Van Winkle — John Unit — The will 
scene — Mary Devlin — Snow-bound train — Two merry days at 
"Strawberry hill farm" — "Self" in Cincinnati — The prototype of 
Unit an auditor — H. L. Bateman — March, 1858, Owens' dSbut in 
Boston — Julia Bennett — Fanny Morant — "The Rivals" — "The 
Queen's Heart" — Versatility — William Warren — Saturday night 
performances inaugurated in Boston — Season 1858-59 in New 
Orleans — 1859-60 — Owens manager of "Varieties Theatre" — Ma- 
jor Wellington DeBoots — E. S. Sothern — Realistic properties — 
" American Cousin " — Christmas, 1859 — Dot — Owens' Caleb Plum- 
mer — A poem — A comedy — A sermon — Mrs. John Wood — Origin 
of the popularity of " Dixie's land." 

HE ensuing summer was varied by an unpremedi- 
tated and brief visit to Europe ; a few days being 
passed in London, but the greater part of the time in 
Paris. Many bright anecdotes and incidents were told on 
his return home ; among them the following, afterwards 
narrated by a friend, in these words : " It is rare fun to 
hear John Owens relate his interview with Barney Wil- 
liams, in Paris. Fancy John having cultivated a formi- 
dable suit of facial hair, and attired at every point ' a la 
mode de Paris/ rapping one fine day at the door of a 
80 



JOHN E. OWENS. 81 

room eligibly located on the Boulevard des Italiens, and 
receiving in response the exclamation from within, i En- 
tree ! ' — of course in the purest Parisian (?) accent. Tip- 
ping the rim of his highly polished castor, over his eyes, 
till it rests on the bridge of his nose, and assuming some- 
thing of a swaggering air, John enters ; and is received 
with the extremest demonstrations of courtesy by Barney, 
who is lying off in all the luxury of morning costume, 
sipping his cafe-au-lait and reading Galignani. ' Com- 
ment vous portez vous, Monsieur ? ' says Barney, turning 
to the visitor without the smallest suspicion, and with all 
the politeness and admirable imitation of manner of the 
people he was living among; and receiving from his 
heavily-bearded caller the usual response. 'Asseyez 
vous, Monsieur/ added he, at the same time placing his 
guest a chair, and with the most marked French emprease- 
ment waving him an invitation to sit. Owens could not 
carry on the joke. The metamorphose of Barney into a 
Parisian was too much for his gravity. Taking off his 
hat, and at the same moment clapping his host upon the 
back, he exclaimed, in his natural voice and manner : 
' How are you, Barney ! ' ' And is it you, ye divil ? ? 
said Barney, whose first impulse had evidently been to 
throw the poker at the head of his visitor, when he found 
out to whom he had been airing his French. ' And what 
the deuce are you doing in this part of the world?' 
1 Studying the language, my boy, that's all ; and what an 
6 



82 MEMORIES OF 

"illigant" lesson I have just had; especially in the accent 
—eh, Barney ? ' " 

Having passed a few weeks pleasantly in Paris, Owens 
returned home, and after a swift and agreeable passage 
across the Atlantic, arrived at the pier in New York. 
As he was leaning on the taffrail, like Juliet in the bal- 
cony scene, " his cheek upon his hand," and facilitating 
himself that he had reached his native land once more in 
safety ; one of those amiable gentlemen who signalize 
themselves by poking whips in the faces of travellers, by 
way of catching their eyes, clambered over the rail, and 
giving our friend a gentle slap on the back, said : " Have 
a carriage?" Owens being knocked quite out of his 
revery, and nearly out of all the breath in his body, by 
this energetic salutation, stood for a moment speechless ; 
and the Coachee, scanning his costume and the cut of his 
whiskers, evidently began to think he was a Frenchman. 
Owens perceived this, and immediately determined to 
humor the idea, and have some fun out of it. "Car- 
riazhe ! Vat ees ze carriazhe ? " " Why, the coach — 
horses — wheels — things that go round, round, so ! Go 
? lang ! Crack ! Take you to hotel ! " said the other, 
gesticulating all the while, and describing pantomimically 
the motion of a carriage, the driving of the horses, and so 
on. " Aha ! Oho ! Oui, oui ; je comprend ! To ze hotel. 
Tres bien ; you sal mak me come to ze hotel Metropoli- 
tang, eh ? You know where is ze Metropolitang ? " " The 



JOHN E. OWENS. 83 

Meetropolitern ? Of course ! Take you there iu a jiffy. 
Show your baggage ! Come along, Mounseer." " Oui, 
oui ! zat all ver good ; but how mosh for take moim£me 
et mon baggazhe to ze hotel Metropolitang ? " " Three 
dollars; that's all." "Tre dollar! Mon Dieu ! Zat is too 
mosh for ze leetle vay to ze hotel." " A little ways ! 
My eyes ! Why, do you happen to know, Mounseer, 
about how fur it is, say? Why," continued Coachee, 
rising in excitement as he proceeded with his pantomimic 
description, "there aint no less than three bridges to 
cross, and ever so much toll to pay before you get there." 
" What zat, you call ze bridzhe and ze tol, eh ? " " The 
bridge ? Why," gesticulating, " high up, so ! water run- 
ning under, so ! Cross over ; stop ! Pay money every 
time ! " "I tell you what it is, Coachee," said Owens, 
resuming his natural voice, " I'll give you fifty cents." 

The scamp was dumbfounded for a second; but see- 
ing that he was " sold," and if he rode rusty, he would 
find himself in an awkward fix ; putting his hand to his 
mouth and whispering confidentially to Owens, said, with 
a wink that spoke volumes : " Call it seventy-five, and 
say nothing, you know, about the bridges!" 

Owens began the season of 1856-57 in Philadel- 
phia, pleasantly and profitably; thence to the Baltimore 
Museum, cramming the house with enthusiastic audi- 
ences. It was during this engagement that he played 
Solon Shingle for the first time. " The People's Lawyer ' ? 



84 MEMORIES OF 

was then given in two acts; Robert Howard being the 
prominent part. Owens was pleased with the quaint 
vein of humor which characterized Solon; and later on 
made a study of the garrulous countryman; cut the 
Drama to farce length, introduced much new business, 
and so elaborated the part and altered the piece, that he 
copyrighted it under the title of " Solon Shingle? 

It has been said that Owens imitated Charles Burke 
in this part. Such an assertion is utterly untrue. Mr. 
Owens never saw Burke, or anyone else play " Solon 
Shingle? With equal injustice, the would-be wiseacres 
assume that Mr. Joseph Jefferson reproduced his brother's 
portrayal of "Rip Van Winkle;" whereas the two per- 
formances differ widely. Mr. Burke was a gifted artist — 
wonderfully so ; but the play which Mr. Jefferson has 
rendered famous has no similarity to that in which Mr. 
Burke appeared, save that they both are founded on 
Washington Irving's story. Neither Mr. Owens nor 
Mr. Jefferson were ever imitative. To each character 
assumed, they gave distinctive expression; original to 
the degree of inspiration, their genius never required the 
methods or ideas of others to render perfect those won- 
derful embodiments which have established their world- 
wide fame. 

In November, 1856, Owens signed with H. L. Bate- 
man to star in Mrs. Sidney Bateman's play of "Self? 
This Comedy had been produced in New York with Bur- 




MR. OWENS as SOLON SHINGLE. 

(From a Painting by A. Cross.) 



JOHN E. OWENS. 85 

ton as John Unit, and in St. Louis with Mark Smith in 
the same part, and was a failure in both cities. Owens 
hesitated about undertaking a play already received coldly 
by the public; but upon reflection, was sanguine of 
making John Unit a character part, and thereby leading 
up to success for the piece. He took for his model in 
dress and manner of playing Unit, a prominent citizen of 
Cincinnati, and " like unto a mirror depicted his eccen- 
tricities." Those who have seen Owens play John Unit, 
and heard the expression to which he was prone, "It 
won't pay, sir/' need not be told what a natural repre- 
sentation he gave of the crusty old banker ; who, beneath 
his hard exterior had a tender heart for those who really 
understood him. It was a leaf from life, touching kin- 
dred chords in many natures. 

John Unit proved a valuable addition to Owens' reper- 
toire, winning for him new laurels and establishing success 
for "Self" — a success so entirely identified with his name 
that he purchased from H. L. Bateman entire right to the 
possession of the Comedy. Owens' "John Unit" was in 
fidelity of conception, unsurpassed by anything on the stage. 
His grasp of the character was perfect, and every light and 
shade stood forth intensely life-like. Prominent in per- 
fection, the library scene may be considered the gem of 
the part. The soliloquy, after having made his will, was 
like the unfolding of the inner nature of the old banker, 
giving glimpses of its asperity and of its tenderness. The 



86 MEMORIES OF 

ingenuous retrospection of his life — realization that his 
methods had brought him to a lonely old age, recollections 
of boyhood and home, yearnings for family ties, were 
delineated with such depth of sentiment and rugged 
pathos as to invoke sympathetic response. During Owens' 
first visit to California, this scene had intense effect upon 
the rough, red-shirted miners in the galleries. Many of 
them had been absent from home for years, and the long- 
ings for the associations of early life so vividly expressed, 
found echo in their hearts, and ofttimes caused them to 
weep like children. The interview with Mary Apex, 
which follows Unit's soliloquy, where he talks with her 
in a half-bantering, half-earnest, and entirely affectionate 
manner, was a type of quaint and hearty wisdom, won- 
derfully portrayed. 

"Self" had a prosperous run in Baltimore, and the 
experience was repeated in Washington. "Mrs. Apex" 
found a strong representative in Mrs. Melinda Jones, 
" Mrs. Codliver " in Mrs. Jane Germon, and " Mary 
Apex" in Miss Mary Devlin (who afterwards became 
Mrs. Edwin Booth). The latter lady was not only a 
talented actress, but one of the loveliest and best women 
in the world. Mary Apex's nature seemed akin to that 
of the ingenuous girl who personated her. 

After Washington, Eichmond was the next date to be 
filled by "Self." The company left Washington in good 
spirits, not apprehending that the light snow just begin- 



JOHN E. OWENS. 87 

ning to fall would at all interfere with their journey ; but 
it was destined to culminate in a storm, to be hereafter 
spoken of as " unparalleled in the memory of the oldest 
inhabitants." The snow steadily increased, involving fre- 
quent stoppages to clear the railroad tracks; and finally 
the storm became violent. At daybreak, Sunday, the train 
had been snow-bound for several hours. The engine fires 
were extinguished, and the snow (already banked up above 
the car windows) was still rapidly falling. No sign of 
habitation near ; nor could the passengers form an idea of 
their location, until later on, the church bells of Richmond 
were heard. " So near, and yet so far," were they. 

Having consumed all eatables that were on the train, 
the situation was growing serious as to ways and means 
of extrication from this perilous condition. At this crisis 
a stalwart colored man said, that " he knew all the sur- 
rounding country, and would sally forth to seek assist- 
ance, if his master would give consent." This was 
readily obtained, and amidst expressions of gratitude, the 
passengers made up a purse of fifty dollars, to be given 
to the man on his return. Additionally incited by this 
promised reward, he plunged into the snow, which sub- 
merged him to his neck ; and striking vigorously across 
country, was soon lost to view. The prospect of relief 
revived the drooping spirits of the snow-bound passen- 
gers; but as hour after hour passed by, without any sign 
of the return of the adventurous pioneer, hope waned, cold 



OO MEMORIES OF 

and hunger increased, and the situation became alarming. 
Towards night the faint tinkle of bells was heard, and then 
the far-off sound of voices — the listeners were almost afraid 
to trust their senses, lest disappointment might ensue — 
but louder and louder came the welcome sounds until, in 
the distance, they saw a wagon drawn by a team of six 
oxen, preceded by a snow-plow ; the latter driven by 
their sable deliverer, who had found a farm house, and 
returned with a relief corps. The hospitable farmer not 
only brought food for immediate necessity, but insisted on 
taking all the passengers to his house to stay until the road 
should be in condition for trains to resume travel. 

A merry party were packed away in the long wagon — 
hunger and cold forgotten, as the farmer started the 
team, and with a loud " huzza ! " and bells jingling, off 
they drove for "Strawberry Hill," three miles distant. 
There they remained two days, entertained in true Vir- 
ginia style by Mr. R. F. Adams and his household. It 
was a delightful episode to the guests, and also to their 
host and his family ; the former exerted themselves to be 
agreeable and entertaining ; to the latter, this break in 
their quiet life was a sensational revelation. The even- 
ings were full of mirth and laughter; one source of 
amusement to the guests being the singing and banjo 
playing of Mr. Adams' colored people, which was genu- 
ine plantation minstrelry ; exceeding the best imitations. 
There was mutual regret when the time came for guests 



JOHN E. OWENS. 89 

and host to part. The intimation of remuneration for the 
hospitality extended by Mr. Adams, was rejected by that 
gentleman, with kindly but dignified firmness. Much 
hearty hand-shaking, and many cordial wishes attended 
the leave-taking, and with merry laughter, amidst the 
babel of many tongues, the party drove off from the old 
farm-house, which they never forgot. 

On their way to Richmond, the passengers held a 
meeting, organized by John E. Owens and H. L. Bate- 
man, and decided to present a testimonial to Mr. R. F. 
Adams, expressive of their thanks and appreciation of 
his kindness and lavish hospitality. Mr. Adams and his 
family had been invited to visit the theatre towards the 
close of the engagement of the "Self" company ; and on 
their arrival in Richmond, were surprised by the presen- 
tation of a handsome silver service and tray, of exqui- 
site workmanship. The largest piece being beautifully 
wrought with a representation of a snow-bound train in 
the foreground, a farm-house in the distance ; and, in the 
middle ground, an ox-team wagon coming to the rescue. 
On the reverse side, the following engraved inscription : 

" Presented 
by the passengers who were detained by the severe snow storm of 
January 18th, 1857, on the Virginia Central Kailroad, to 

K. F. Adams 
as a token of their gratitude for the true Virginia hospitality ex- 
tended to them at his house, and for his heroic exertions in releasing 
them from their perilous and suffering condition." 



90 MEMOEIES OF 

Mr. Adams was so much overcome by this unexpected 
token of remembrance, that he could scarcely falter his 
acknowledgment — grasping Mr. Owens' hand, he said : 
" Not only do I appreciate this gift, but my children and 
grandchildren will regard it as an heirloom. v 

From Richmond " Self" wended its triumphal course 
to Cincinnati, where the prototype of John Unit fre- 
quently witnessed the play. One of his nephews said 
to Owens : " My Uncle recognizes himself in the char- 
acter ; and though sensitive about some points you make, 
he is well pleased at the denouement which elaborates 
Unit's good qualities ! " En passant, it is rather strange 
that the likeness should have been admitted, as people 
are seldom conscious of their own peculiarities. I re- 
member an eminent Italian impressario saying to Mr. 
Owens : " Mr. Owens, I hear that you have mak' imitate 
of me ; I am mooch distress, and I so speak that you no 
more do zat same ting." Owens gravely expressed sur- 
prise at the accusation, and " really could not imagine 
who had brought such a charge against him;" this re- 
sponse being given with the accent and manner of the 
impressario, who failed to perceive the imitation ; though 
the bystanders recognized it with infinite amusement. 

While in Cincinnati, Owens and Bateman talked over 
a project of organizing a strong "American Comedy 
Company," to play through England during the summer 
months. Something that had not, at that time, been 




MR. OWENS as JOHN UNIT 
In " Self." 



JOHN E. OWENS. 91 

attempted. The more that it was discussed the more 
feasible the enterprise seemed. Henry C. Jarrett was 
deputed to ascertain if John Gilbert, William Wheatley 
and other eminent artists were open to offers ; and favora- 
ble replies were received. Before making engagements, 
Mr. Jarrett was dispatched to England, to personally 
investigate the prospect of securing theatres in different 
cities, commencing in London. It being understood that 
a triple partnership, to manage the dramatic enterprise, 
should be organized on Jarrett's return, if favorable re- 
port was brought, justifying the venture. Meanwhile, 
Owens continued his professional engagements. 

After an absence of six weeks, Mr. Jarrett returned, 
and a meeting of the trio was appointed. Verbal re- 
sponses and letters from several English managers were 
most auspicious to the undertaking ; consequently, the 
details of business came under discussion. Owens sug- 
gested that each member of the partnership should be 
allotted separate duties and responsibilities — giving cer- 
tain views based on his managerial experience; and 
Jarrett acquiesced in this course, which impressed him as 
being practical and conducive to their mutual interest; 
but Bateman fought every opinion, step by step. After 
considerable talk, Owens remarked : " We are wasting 
time going over the same ground, Bateman ; suppose you 
give us your views of an organization ? " " Well, I will," 
replied Bateman ; and after a preliminary remark or two, 



92 MEMORIES OF 

he summed up the matter by saying : " I must be busi- 
ness manager, absolutely ; and I must have sole control 
of the entire affair, without dictation from any one. All 
power and direction must be vested in me, if we want 
success." 

" Oh," said Owens, calmly, " that is your idea, is it ? " 
"Yes," said Bateman, "and the only sensible way to 
carry the thing through." "Then, gentlemen," said 
Owens quietly (rising), "count me out of the enterprise;" 
and he left the room. So little excitement did he mani- 
fest, that Bateman could not believe the affair was closed. 
Three days later he approached Owens with some ques- 
tion relative to preparation for the " American Comedy 
Company ; " and was quite startled by the unmistakable 
firmness of the reply given — " I gave my ultimatum, and 
will not waste further words on the subject." 

Speaking of H. L. Bateman — he was a compound of 
good qualities and objectionable traits. His strong will 
and love of power inclined him to presumptuous and 
overbearing conduct. He was ofttimes captious and fault- 
finding. Mr. Owens, referring to this spirit of discontent, 
once said to him : " I really think, Bateman, if in the 
next world you are fortunate enough to be placed with 
the sheep, you will think it looks pleasanter among the 
goats." Bateman's indomitable energy and judgment 
eminently qualified him for a progressive business man. 
The fame of the celebrated "Bateman Children" (his 



JOHN E. OWENS. 93 

daughters) extending, as it did, over both continents, was 
greatly enhanced by his acumen in properly developing 
their talents. Later on, when Kate Bateman, in early 
womanhood, achieved fame in " Leah" and other parts, 
her triumphs were much increased by the skilful engi- 
neering of her father, who was her indefatigable director. 

Matilda Heron, Parepa Eosa, and other illustrious 
artistes, first appeared in this country under Bateman's 
management. With Tostee in " The Grand Duchess" 
he inaugurated Opera Bouffe in America. The St. Louis 
Theatre and others were, at different times, under his 
management. His latest managerial success was at the 
Lyceum Theatre, London. Then it was that Henry 
Irving (now so famous) first came into prominence — with 
the great run of "Hamlet" and "The Bells," which set 
all London talking of the rising star. Socially Bateman 
was companionable and entertaining. An excellent racon- 
teur, he also had keen sense of the ludicrous, and appre- 
ciated wit and humor in others. He was not free from 
petty weakness, and this was evinced by his sensitiveness 
about his christian name, "Hezekiah Linthicum." It 
was so obnoxious to him, that he invariably made his 
signature H. L. Bateman, and tacitly permitted his letters 
to be addressed " Henry L. Bateman." 

On one occasion, some little business disagreement 
occurred between Owens and Bateman. A correspondence 
ensued, and Bateman, as usual, waxed wrathful, and be- 



94 MEMORIES OF 

came voluminous in expression. Owens declined further 
discussion, but Bateman persisted in freighting the mail 
with reiterative contention. Finally Owens, impressed 
with the absurdity of this " Much Ado about Nothing," 
took a comical view of it, and wrote : " If you write to 
me again on this subject, I will return your letter addressed 
' Hezekiah Linthicum Bateman/ " A telegraphic response 
came — "I will stop." Thus the matter was good- 
humoredly settled. The next time they met, Bateman, 
laughingly referring to the ludicrous termination of their 
difficulty, said : " John, you wouldn't really have been so 
cruel as to direct a letter to me, • Hezekiah Linthicum ?'" 
" Indeed, I would," said Owens. " I don't believe you 
capable of such deliberate wickedness," retorted Bateman, 
" though you frightened me terribly by the threat." 

Bateman prided himself, and justly, too, on his admi- 
rable tact in extricating himself from a dilemma. His 
inventive genius seemed inexhaustible. Mr. Owens said 
he never saw Bateman nonplussed but once, and then not 
utterly. They were standing on the steps of the Burnet 
House, Cincinnati, when Bateman exclaimed : " Gracious 
goodness ! here comes a man that I like ; a man who 
entertained me when I was in this city a few months ago, 
and I have forgotten his name ! but I do remember he is 
very sensitive on that point. John, what is his con- 
founded name?" "I don't know," said Owens, exas- 
peratingly. By this time the gentleman was ascending 



JOHN E. OWENS. 95 

the steps. Bateman rushed to meet him, shaking hands 
cordially, and beaming with delight — hoping to gain time 
by talking rapidly, and thus recall the name. Failing to 
do so, he said : " I've thought of you so often ; wanted 
to send you a newspaper now and again, but did not know 
exactly how to spell your name. How do you spell it ? " 
"s-m-i-t-h," was the response. To any one else this 
would have been total discomfiture ; but Bateman rallied, 
and rejoined : " I was uncertain whether you used an i or 
a y, and most people are liable to take offence at an inac- 
curacy of the kind." 

After the Cincinnati engagement Owens proceeded to 
St. Louis where he scored a triumph, thence to Pittsburg 
with like result. The remainder of the season was filled 
in Washington, Philadelphia and Baltimore. In the 
latter city he played several weeks at the Holliday Street 
Theatre, and re-appeared there at the commencement of 
the next season ; after which he made his usual starring 
tour through the principal cities, being considered by all 
managers a strong drawing attraction. On the 2nd of 
March, 1858, Owens appeared for the first time in Bos- 
ton. Dr. Ollapod, in " The Poor Gentleman" was the 
part that chronicled his successful d6but. He was sur- 
rounded by a galaxy of talent : George Jordan, James 
Bennett, Geo. Ryer, Henry Wallack, Williams, Stuart, 
Norton, Julia Bennett, Fanny Morant, Mary Carr, &c. 
The performances given by such a company were charm- 



96 MEMORIES OF 

ing, so perfectly studied and rendered was every char- 
acter. 

March 24th Owens played Bob Acres, in The Rivals, 
for the first time, and made an immense hit. The 
idiosyncrasies of the character were given with zest and 
originality. It was a clear-cut picture of the country 
Squire. His scene in the second act, with Captain Abso- 
lute, was enthusiastically encored ; and all through the 
Comedy laughter and applause confirmed his success. 
Mr. Owens' propensity to hurriedly dress for the stage, 
extended to his preparation of costume for a new part. 
A few hours before he was to appear as Bob Acres he 
sallied forth to procure some accessory which was required 
to make his dress complete. Meeting William Warren, 
he asked where he would be most likely to be suited 
in the article required. " Good gracious ! " said Mr. 
Warren, " you don't mean to say that you haven't every 
thing ready for a part you play to-night, and a new part 
too ! Why, I shouldn't be able to remember my lines if 
I had to think about a dress. It would upset me to be 
so hurried." " That very hurry suits me, " replied 
Owens, " the excitement gives me a kind of nervousness 
which tends to vivacity, and brightens my wits." 

Many old comedies were played at this time, but " The 
Road to Ruin" was perhaps the one in which Owens 
gave the greatest surprise to even his most ardent ad- 
mirers. " Silky " is so entirely m-comic that much com- 



JOHN E. OWENS. 97 

ment was made when Mr. Owens was announced for the 
part. But, having made a study of it, he knew he could 
do justice to its portrayal. The delineation he gave was 
a gem, and by its excellence became the feature of the 
comedy. His make-up was perfect. The angularity of 
limbs, the stooping shoulders, the semi-palsied appearance 
of hands, and the wizen face were all marvellous person- 
alities of the miserly usurer. The shrewd avaricious 
glance which gave way to servile obsequiousness, in 
change of situation, the piping voice and cackling laugh 
were each and all masterly points. 

Owens simulated age with extraordinary accuracy, but 
he was not unmindful that age has many phases and 
personal distinctive traits; hence, of the numerous old 
men he played, no one resembled the other. In Solon 
Shingle his voice ruralized into eccentricity, and in Caleb 
Plummer it sobered into pathos. His versatility was 
wonderful ; he could be a young man, a romping lad, or 
a centenarian with equal fidelity to nature. " Silky " and 
" Gillman " (the youthful bridegroom) constituted an 
evening's entertainment which, in their contrast, vividly 
displayed these remarkable gifts ; so did " Tony Lumpkin " 
and " Spruggins" and numerous other equally astonishing 
and delightful performances. During this Boston en- 
gagement, among other novelties produced, was " The 
Queen's Heart" by Dr. John W. Palmer, of Baltimore. 
Dr. Palmer was well known in literary circles as the author 
7 



98 MEMORIES OF 

of many able and brilliant works in prose and poetry. 
One of his specialties in poetry is the never-to-be-for- 
gotten and thrilling poem of " Stonewall Jackson's Way." 

The comedy of the Queen's Heart possessed self-assert- 
ing merit ; inasmuch as the plot and action were original, 
and the dramatis personse different from the stereotyped 
pattern so often found in plays. Madame Mondieu, 
created by Miss Fanny Morant, was a superb piece of 
acting. I say acting, for though true to nature, no other 
word can express how much this talented artiste made 
of the part by look and gesture. The text became elo- 
quent by the inimitable shrug of the shoulders with 
which she emphasized its meaning. Owens as Napoleon 
Bonaparte Aravier, a French comedian, made a decided 
hit, and strongly depicted the eccentricities of the loqua- 
cious comedian, who, under the guise of flippant bom- 
bast, plots to defeat wicked designs and bring help to 
the deserving. His rendering of the semi-inebriated 
song, " The Little Brown Man/' was nightly encored. 
The " Queen's Heart" won deserved popularity. Later 
on Dr. Palmer gave the play to Mr. Owens, who in- 
tended to include it in his repertoire, but always found 
it difficult to secure a competent Madame Mondieu. 

The first theatrical performance ever given on Satur- 
day night in Boston took place May 1st, 1858. The 
play-bills for more than a week previous having the 
preliminary announcement, by this heading : 



JOHN E. OWENS. 99 

"SPECIAL NOTICE. 

" The Legislature of Massachusetts during the last session, having 
abrogated an old law, which prevented Dramatic Eepresentations 
from taking place on Saturday evenings, and the Board of Aldermen 
also having granted the petition of Mr. Barrow to open this Theatre 
on Saturday evenings, he purposes testing 

Public Opinion 
by giving a Dramatic Performance of a High Order on Saturday even- 
ing next." 

The public did not respond cordially to the innova- 
tion. Slim attendance being the rule for many Saturday 
nights ; but gradually business increased, and before the 
season was over, Boston made no distinction between 
Saturday and other night performances. Owens remained 
in Boston several months. The favorable impression he 
made at first strengthened as his engagement became pro- 
longed. Much social enjoyment brightened the time. 
With his professional associates, and many friends, he 
found congenial companionship. Many pleasant hours 
were spent in the society of William Warren. Occa- 
sionally a charming re-union and supper in Miss Amelia 
Fisher's renowned and picturesque kitchen made a red 
letter day. 

One of the warmest friendships formed at this time 
was with Henry A. M'Glenen, now business manager 
of the Boston Theatre. It strengthened as time went on, 
and to the end of his life Mr. Owens esteemed " Harry 



100 MEMORIES OF 

M'Glenen" with deep regard, and knew it to be sin- 
cerely reciprocated. No truer friend mourned his loss, 
or rendered tenderer tribute to his memory. 

The evening previous to leaving Boston, Mr. Owens 
entertained a few friends at the Parker House. As they 
were about separating, one of the guests (a jolly but 
impecunious individual) said : " By the way, Owens, I 
owe you three hundred dollars — perhaps more." "Don't 
mention it," answered the comedian, who, liking the man 
personally and knowing his irresponsibility, mentally 
regarded the money as a gift, not a debt. " Ah ! my 
boy, that won't do ; business is business, and I prefer to 
settle the matter before you leave the city." Then tak- 
ing from his pocket a slip of paper, he said : " Here is 
my I. O. U., that will secure you." At this Micaw- 
berish adjustment, a covert smile pervaded the company, 
but Owens gravely received the note, and held it in 
his hand while they stood chatting, ere they separated. 
Finally, with affected unconsciousness, he twisted the 
paper and used it to light his cigar. A horrified remon- 
strance arose from the giver of the note. " My dear boy, 
see what you are doing ! Don't be so absent-minded ! " 

" That's all right, B , such a lighter must needs give 

my cigar a good flavor, and at the same time relieve you 
from the shadow of responsibility." 

October, 1858, finds Owens again in Boston, but only 
for a short engagement, as he had signed for the season 



JOHN E. OWENS. 101 

with Thomas Placide, Manager of the " Varieties Thea- 
tre," New Orleans. The original Varieties Theatre, erected 
1849, was managed by Thomas Placide until 1854 ; dur- 
ing that year it was destroyed by fire. When the theatre 
was rebuilt, Dion Boucicault assumed the management 
and changed the name to " Gaiete Theatre — it was so 
known for two years. When in 1858, Placide again 
became manager, he restored the old and more popular 
title. This theatre was situated on Gravier street, and 
owned by the "Varieties Club," an exclusive, aristo- 
cratic and wealthy association. The name was suggested 
by " La Variete" " in Paris. The theatre ranked as the 
most fashionable in New Orleans. At that time song 
and dance and specialty performances were limited to 
music halls, and not termed " variety shows ; " but later 
on, when thus designated, it became necessary to change 
the name of New Orleans' famous theatre, least the origi- 
nal title, "Varieties," might give a wrong impression 
in regard to its dramatic position. 

The season of 1858-59 was conducted on the stock 
system; a superb company having been engaged. The 
sterling old comedies were given, varied with the new 
pieces, then being played in London and New York. 
As usual with New Orleans seasons, Owens found this 
one delightful as well as profitable. At its close, Pla- 
cide's lease having terminated, Owens was solicited by the 
stockholders to become the next manager, and accepted a 



102 MEMORIES OF 

four years' lease, beginning 1859-60. Upon the conclu- 
sion of the present season, Owens took the company to 
St. Louis and Cincinnati, and gave six performances in 
each city ; so great was the furore created, that the houses 
were packed and many unable to obtain even standing 
room. 

Perhaps there can be found no more brilliant dramatic 
record than the New Orleans season of 1859-60. The 
stockholders gave Owens carte blanche in respect to beau- 
tifying and furnishing the Varieties Theatre ; and this 
unlimited power, guided by his judgment and exquisite 
taste, resulted in the Theatre being a model of elegance 
in regard to auditorium, stage setting and general effect. 
The dramatic corps selected was second to none in the 
country, and the splendor of the season was unparalleled. 
The wealth, beauty and fashion congregated in New 
Orleans, this winter, was never exceeded in that notably 
gay city ; the " Varieties " nightly thronged with pleas- 
ure seekers ; and Owens, both as an actor and manager, 
considered peerless. 

Among the new comedies produced this season was 
" Everybody's Friend." It was put on the boards simul- 
taneously with its production in New York. E. F. 
Sothern as Feaiherley, Sara Stevens as Mrs. Swandown, 
and Owens as Major Wellington DeBoots. To the latter 
character Owens brought original conception, and played 
perfectly ; making so great a mark that ever afterwards 




MR, OWENS as MAJOR WELLINGTON DeBOOTS 
In "Everybody's Friend." 



JOHN E. OWENS. 103 

it was included in his starring repertoire. Owens' concep- 
tion of DeBoots was not as an eccentric braggart, only 
to be laughed at, but a man of excessive vanity, weak 
character and infirm purpose. The self-satisfied catchy 
little laugh or chuckle, which he originated in this part, 
has often been imitated, but never reproduced with the 
vitality and infectious mirth wherewith Owens invested 
it. The business introduced was irresistibly droll, but 
neat, and, with an occasional interpolating line, made the 
bombastic Major's character vividly life-like. 

And here I would remark, that a tendency to gag has 
been attributed to Mr. Owens which he did not deserve 
in the actual sense of the word ; it is true he was prone 
now and then to introduce a sentence not set down in the 
text, but it always fitted so perfectly with the character 
he was representing that it seemed exactly what the 
author would have consistently written. Exuberance of 
spirits never led Mr. Owens to the objectionable habit of 
making topical jokes, or allusion to those surrounding 
him. He was far too conscientious an artist to sacrifice 
the integrity and illusion of a play to raise a laugh, or 
create merriment at variance with principle and taste. 

Sara Stevens made a charming Mrs. Swandown, and 
E. S. Sothern was admirably suited to Felix Feathzrley ', 
which he played in his usual graceful, mercurial and 
polished manner. Each of the cast seemed to have a part 
that might have been written for their especial abilities ; 



104 MEMORIES OF 

and this insured a favorable reception for the comedy. 
The first and second nights of its representation there 
was a bit of amusement not set down in the bill. For 
the scene where Featherley presents Mrs. Swandown with 
an Angora cat (supposed to be sleeping peacefully in the 
covered basket which he carries), Sothern insisted upon 
being realistic, to the extent of having a live cat. Of 
course, puss became frightened when the cover was re- 
moved, jumped out, and having made a bewildered 
plunge here and there, scampered off the stage amid the 
laughter of the audience. For the next night, Sothern 
suggested a small guinea pig as being less nimble, and 
sure to remain quiet, but the same exhibition of stage 
fright (?) occurred, except that the pig dived awkwardly 
into the orchestra. The general impression prevailed 
that these innovations were not actuated so much by 
Sothern's desire to be realistic as by his propensity for 
practical joking. 

" The American Cousin" in which Sothern had made 
a hit at Laura Keene's New York Theatre, the previous 
season, was strongly cast, but met with only mod- 
erate favor from the public, and less from the press. It 
was at this time that Sothern originated the " Brother 
Sam " letter which he introduced into the part of Dun- 
dreary, and afterwards rendered so celebrated. The 
American Cousin held the boards for two weeks. On 
the night of final representation Sothern (as Dundreary) 



JOHN E. OWENS. 105 

read a witty letter conveying a request from the company 
for permission to testify their admiration by crowning 
him with an appropriate wreath. His lordship having 
expressed gratification and given consent, the imposing 
ceremony was performed, and the renowned Dundreary 
crowned with a chaste wreath of " woathed chestnutzs" 
beautifully relieved by " Oythter Theltz" and " Shwimp 
Think." " My Lord " made a brilliant acknowledgment, 
replete with stammerings and hops. The audience and 
the artists evidently enjoyed the joke intensely, and the 
majority of them quite understood that it was a good- 
humored rebuke to the overdone gush of floral pre- 
sentations which had become rather tiresome during the 
season. 

Sothern's Dundreary is so much a part of stage history 
that everybody knows he continued to elaborate and im- 
prove the character, until it became identified with his 
name, placing him on a pinnacle of prominence which he 
had failed to reach through his equally clever and more 
legitimate personations. 

The great sensation of season 1859-60 was "Dot" 
Boucicault's dramatization of The Cricket on the Hearth, 
in which Owens played Caleb Plummer for the first time. 
Careful rehearsals were given, and also every attention 
to the stage setting and transformation scene. The Fairy 
Prologue was charming. The initial performance took 
place on Christmas night with the following cast : 



106 MEMORIES OF 

Caleb Plummer Mr. John E. Owens. 

John Peerybingle Mb. C. W. Couldock. 

Tackleton Mr. M. Leffingwell. 

Edward Plummer Mr. H. A. Copland. 

Dot Miss Charlotte Thompson. 

Bertha Miss Sara Stevens. 

Mrs. Fielding Mrs. W. A. Chapman. 

Tilly Slowboy Miss Polly Marshall. 

May Fielding Miss Eliza Couldock. 

Polly Marshall, the soubrette, was much dissatisfied 
with having the part of Tilly Slowboy assigned to her. 
The lady was an English actress who had been a favorite 
at Burton's Theatre, New York, and it was expected she 
would be equally popular in New Orleans, but a mild 
liking was the extent of approbation she inspired ; sensi- 
tively aware of this fact, she entreated Mr. Owens to 
substitute some one else for Tilly, assuring him that the 
part was utterly out of her style, and to attempt it would 
culminate her unpopularity. Mr. Owens thought dif- 
ferently, and courteously but firmly declined to change 
the cast ; whereupon the lady retired from the interview 
in a distressed and tearful condition. Short-sighted mor- 
tals we are. Tilly Slowboy proved to be the first hit of 
Miss Marshall's engagement; she took the audience by 
storm, and afterwards every part she played was favora- 
bly received. No soubrette, in New Orleans, ever held 
greater sway over an audience than did Polly Marshall. 



JOHN E. OWENS. 107 

Owens' personation of Caleb Plummer belongs to the 
annals of the stage. It stands unrivalled and crowned 
with well-earned glory. The public, the press and his 
fellow artists have conceded to him the perfection of 
finished art in this character, and ranked him as incom- 
parable. His great charm was unaffected adherence to 
nature. He took Caleb Plummer bodily from the word- 
painting of Dickens, and made him flesh and blood. 
There was no attempt at heroism in depicting this affec- 
tionate-hearted old man who had suffered so long with 
cheerful resignation ; it was simple nature in all its purity 
and goodness, and the illusion perfect in delicate blending 
of pathos and quaint humor. 

The " God bless us all " of old Caleb lingered in sweet 
influence with the audience, and found echo in the hearts 
of all who saw and felt his nature as embodied by John 
E. Owens. It was a poem, a comedy and a sermon. 
No description can do justice to his bits of by-play — the 
quick transition from distress to cheerfulness, for the 
blind daughter's sake, caused the auditor to break into 
laughter while yet the eyes were moist. 

When depicting tender emotion Mr. Owens had what 
the French term " tears in the voice " (as well as in his 
heart), and the effect was magnetic. It has been said of 
Owens' personation of Caleb Plummer, that " it compares 
with Solon Shingle as an oil painting does with a crayon 
sketch." 



108 MEMOEIES OF 

So many able criticisms have been written on this 
exquisite performance, so much has been spoken in its 
praise, that I feel almost presumptuous in adding a line 
to the unanimous tribute ; but knowing that he dearly 
loved the part, I cannot refrain from a few words of 
comment on this chef-d'oeuvre of his repertoire. 

Owens always merged his identity into whatever char- 
acter he assumed, and was for the time being garrulous 
old Solon, guileless-hearted Caleb, pedantic Pangloss, or 
whoever he represented. He played hundreds of parts 
effectively, and yet was modestly free from vanity. Him- 
self the severest critic he had, he was often dissatisfied 
with his own performance when others were lavish in 
commendation. His lack of self-confidence had one phase 
that was peculiar. As the summer vacation drew to a 
close he would frequently say to me : " I don't feel at all 
like an actor, or as if I could ever play again. Suppose 
the gift has gone from me ! " This laughingly but still 
in earnest. I remember once, when the season com- 
menced with Caleb Plummer, he remarked to me, on our 
way to the theatre : " I am still Farmer Owens, but 
perhaps I shall find Owens the Comedian in the dressing 
room." When partly dressed, and beginning to make up 
his face, he turned to me, humorously saying : " Farmer 
Owens is receding." He afterwards said that as soon as 
he stepped on the stage, even before the applause of his 
reception had ceased, all feeling of uncertainty had van- 




MR. OWENS as CALEB PLUMMER 
In "The Cricket on the Hearth." 



JOHN E. OWENS. 109 

ished, farm and country life were forgotten, and he be- 
came absorbed in dear old Caleb. 

"Dot" was immensely popular in New Orleans, and 
was played for two months — an unprecedented run for 
that city, no piece having previously had such a hold on 
public enthusiasm. It was withdrawn in the height of 
success, and given at intervals later in the season. Hav- 
ing made so great a mark as Caleb Plummer, Owens 
purchased from Boucicault the sole right and possession 
of his adaptation of Cricket on the Hearth, entitled "Dot." 

A very sad event occurred towards the spring. Harry 
Copland (juvenile man of the company) had some diffi- 
culty with Mr. Overall, dramatic critic of the True Delta, 
arising from adverse and personal criticism. The quarrel 
eventuated in a rencontre, during which Copland was 
shot. The arrest of Overall followed, but he was released 
on bail, pending Copland's treatment at the hospital 
where he had been taken for amputation of his leg. The 
symptoms were serious from the first. Copland was a 
manly ingenuous young fellow, and a great favorite with 
Mr. Owens, who was devoted to him during his illness. 
Copland craved this constant presence, and found much 
comfort in his friendly ministration. At the final hour 
Owens was with him, and afterwards drove immediately 
to the Mayor's office and gave notification of the fatal 
result of the affray. Overall's re-arrest ensued. He was 
tried for murder, but acquitted on the plea of self-defence. 



110 MEMORIES OF 

The prosecution made a strong effort to secure conviction 
on the charge of premeditated malice on the part of 
Overall; the evidence was powerful, but was rendered 
ineffectual by reason of a peculiar defence. It was proved 
that Copland died of lock-jaw, resulting from gangrene 
caused by verdigris on the pistol ball. The defense 
maintained that this could not have been the case had the 
pistol been freshly loaded by Overall, with murderous 
intent; hence the shooting had not been premeditated, 
but the pistol picked up hurriedly when needed for self- 
defence. On this plea Overall was acquitted. 

After the regular season a supplementary summer one 
was inaugurated by the engagement of Mrs. John Wood, 
who fascinated the New Orleans people, as " Pochahon- 
tas" and with many equally charming bits of acting. 
The company included much musical talent, which was a 
desirable element in the production of " Pochahontas ; " 
and to render it yet more attractive, Owens introduced a 
drill and march of forty female Zouaves. Requiring 
appropriate music, he was difficult to please, as he wanted 
something spirited and yet not too martial. Carlo Patti 
(brother of Adelina Patti), the leader of the orchestra, 
was called upon for suggestions. He ran over various 
airs, all of which were rejected, and was growing hopeless, 
when he struck the chords of Dixie, then a minstrel song 
but little sung. " That suits," said Owens, " it is exactly 
what I want. We will have a song and chorus with the 



JOHN E. OWENS. Ill 

drill and march." It was thoroughly rehearsed, and the 
Zouave drill with Dixie chorus took the town by storm. 
Soon the air was whistled in the streets, played by the 
bands, hummed by everyone ; in fine, became the sensa- 
tion of the times. And thus originated the popularity 
of "Dixie's land," which resulted in its adoption as a 
southern war song. 

In May the theatre closed, and Owens returned to 
Aigburth Yale, his Maryland farm ; passing the summer 
months pleasantly there, except for an occasional sojourn 
in New York to make preparations for the ensuing New 
Orleans season. 



CHAPTER V. 

Experience and executive ability — Brilliant inauguration of New Or- 
leans season 1860-61 — States' rights excitement — Pittsburg emeute 
— Great engagement played in Boston — An interrogative loafer — 
Witty repartee — A disagreeable draft — Obtaining a substitute — 
Presentiment — New England tour — E. L. Davenport — John Gilbert 
— William Wheatley — Eecreation on the farm — A lover of Shakes- 
peare — New York offer from George Wood — Deliberation — Accepts 
for six weeks — Solon Shingle a whirlwind of success — " In a hun- 
dred days " — Mr. and Mrs. Charles Kean — Constant Meyer's picture 
— Close of nine months' engagement — Phenomenal financial result 
— Owens takes steamer for England. 

MR, OWENS took great pride in his theatre, and 
having now become a stockholder, determined 
that it should exceed its former record for elegance and 
attractiveness. He therefore did not limit himself to the 
liberal amount authorized by the board of directors for 
the renovation of the theatre, but expended much of his 
private means for costly furniture, carpets, &c. When 
the "Varieties" opened November, 1860, with a strong 
dramatic corps in keeping with its surroundings, the 
manager was satisfied with his preliminary labor, and the 
public amazed and delighted with the magnificence and 
brilliancy presented for their patronage. 
112 



JOHN E. OWENS. 113 

Legitimate comedy and all the new plays were pro- 
duced with that close attention to correct costume and 
appropriate scenery which ever marked the management 
of John E. Owens. These he held secondary to dramatic 
force, but he considered them indispensable to the pre- 
sentation of a play, and his personal attention was always 
given to the superintendence of every detail in the thea- 
tre. From the paint room to the stage he was present 
and directed the veriest minutise. Thus executive ability 
combined with judgment and refined taste rendered his 
success as a manager Napoleonic. "Dot" was revived 
and warmly welcomed in 1860-61 — "The Romance of a 
Poor Young Man " and "Playing with Fire " were among 
the novelties. The casting of the pieces was simply per- 
fect, embracing such talent as George Jordan, Mark 
Smith, Charles Bass, Doily Davenport, Charles Thorne, 
Jr., Myron Leffingwell, C. H. Morton, F. Maeder, Geo. 
Wallack, Charlotte Thompson, Annie Graham, Mrs. W. 
H. Chapman, Mrs. Leighton and a host of others. The 
most important new production was "Jeannie Deans" (or 
Heart of Mid Lothian), for which the entire resources of 
the theatre, in scenic painting and mechanical effects, were 
brought into requisition, and the strength of the company 
included. The famous pictures of the trial, &c, were 
represented in tableaux effect with exquisite accuracy, 
and were nightly encored. The storming of the Tol- 
booth was exciting and impressive. This representation 



114 MEMORIES OF 

was appreciated by crowded houses for nine consecu- 
tive weeks. 

Towards the close of the winter much restlessness pre- 
vailed through the community, and the " States' rights " 
question was increasedly agitated. Opinions, at first 
quietly expressed, developed until the " cloud no bigger 
than a man's hand/' grew ominously threatening. The 
gay crowd in New Orleans, hitherto on pleasure bent, 
became thoughtful, and gave less time to amusement and 
more to the impending crisis ; and the topic oftenest dis- 
cussed was " Secession." 

My narrative has no connection with the Civil War, 
except to mention it as it affected Mr. Owens. He was 
a Southern sympathizer, but never took up arms against 
the United States. Had the seat of war been in Mary- 
land he would have defended his home. No honorable 
nature can censure him for standing firm to his honest 
convictions. It was a matter of principle with him, in- 
volving the sacrifice of prosperity, for he not only lost 
his property in New Orleans but forfeited the three years' 
lease of the theatre, which proved an El Dorado to the 
Northern manager who used the theatre and its expensive 
appointments. 

A course dictated by policy was foreign to Mr. Owens' 
nature, hence he was willing to endanger his popularity 
rather than express views which he did not entertain. 
Quietly resolved, but never aggressive, no one can truly 



JOHN E. OWENS. 115 

say that lie was ever treacherous to the government. He 
played a short engagement in Washington and in Balti- 
more — a long interval between these, on account of serious 
illness in the family. Then followed the Pittsburg date, 
rendered memorable from the fact that he was not per- 
mitted to play. So great was the antagonism against 
him, for alleged Southern sentiments, that threats of per- 
sonal violence were rife, and Mr. Owens' friends pre- 
vailed upon him to quietly leave town without making 
any attempt to fulfil his engagement. 

A fortnight later he was due in Boston, where he 
nightly packed the large auditorium of the Boston Thea- 
tre ; his friends and the public there not lessening one 
whit of their cordiality because his opinions did not coin- 
cide with theirs. He came before them as an artist, not 
as a politician, and they knew full well that he was inca- 
pable of dishonorable conduct, and respected him for his 
moral courage and dignified course which increased their 
admiration and regard. 

After the War was over, an amusing incident occurred 
one election day, when Owens presented himself at the 
polls to vote. An effort was made to interfere with his 
right of suffrage — the time was past when such a thing 
could be done on the ground of Southern sympathy. 
Owens' vote was challenged under charge of " non-resi- 
dence." The animus was patent ; but taking the matter 
coolly, Owens said : " I beg your pardon, I don't quite 



116 MEMORIES OF 

understand the objection." " Non-residence, where do 
you live?" "Well, I live in London, Paris, Boston, 
New York and many other places, but my home is here 
in Baltimore County, and here I vote." 

At this juncture a half-tipsy loafer, with unkempt hair 
and soiled attire, lounged in front of Owens and said : 
" Where d'ye get your washing done ? There's where a 
feller votes." "In that case, my friend," responded 
Owens, " I should say you never had a vote in all your 
life." A roar of laughter followed this sally, which put 
even the antagonistic element in a good humor. The 
challenger laughingly said : " Go on and vote, Owens ; 
we give in." October, 1861, Owens was drafted in the 
Union army ; he received the notice in Washington, just as 
he was coming off the stage, and meeting one of the actors, 
while passing to his dressing room, remarked: "There 
is a very disagreeable draft here." The literal young 
man called to some of the stage hands : " Shut that door ; 
Mr. Owens complains of the draft." Whereupon Owens 
laughed heartily, and explained the misapprehension. 

He speedily obtained a substitute, but on the way to 
Baltimore the man vanished. A few days afterwards 
another was secured, a regular vagabond specimen. De- 
termined to hold possession this time, Owens fitted the 
man out with good clothing, took him to the farm and 
lodged him in an upper room of one of the cottages on 
the place ; keeping him under close surveillance for three 



JOHN E. OWENS. 117 

days, until the papers, &c, were arranged. The fellow 
was more than satisfied with his quarters, and having his 
meals served to him three times a day j loudly asserting, 
that "he wished it might continue, as he never before 
lived so well." After his examination and acceptance, 
he was taken to camp ; where he pocketed his $400, and 
Mr. Owens gladly received his release. 

Next morning, about dawn, Mr. Owens (as was his 
frequent custom) sallied forth with his dogs and gun, for 
an hour or two's shooting before breakfast. While stand- 
ing on the portico, he saw a carriage driving rapidly down 
the road. When within a few yards of the house, it 
stopped under a huge oak tree ; the driver got down, 
opened the door of the vehicle, and lifted out something 
like a large bundle which he placed under the tree. By 
this time Owens had reached the spot. He recognized the 
driver as an employe at Barnum's Hotel, and said : 
"Hello! Michael, what's all this about?" "Sure, sir, 
and the young man has been on a bit of a spree ; he says 
he's your nephew, and told me to bring him out home ; 
and I didn't like to wake the family up before sunrise, 
so I thought I'd lave him quiet here. 

Turning his eyes to the supposed bundle, Owens saw his 
substitute huddled up in a drunken stupor. " Michael," 
said he, solemnly, " that person is not my relative, he is a 
deserter ; take him to the camp. If he escapes, you are 
liable to be arrested as an accessory." Michael needed 



118 MEMORIES OF 

no second bidding. Picking up the ninety-pound sub- 
stitute, he deposited him in the carriage, and drove off to 
the camp ; where he was given into custody. 

Owens played in Cincinnati, St. Louis, and Nashville 
and Memphis this winter. Later on in Boston, from 
thence a return date in Cincinnati. The Burnet House 
was military headquarters, and Owens, who stopped 
there, was thrown into daily intercourse with the com- 
manders, who sought him socially, and admired him pro- 
fessionally ; not concerning themselves about his Southern 
sentiments. In Cincinnati he closed his season, but 
before retiring for the summer to his farm, consented to 
play for the benefit of a friend connected with Wood's 
Theatre. This necessitated remaining over a few days in 
Cincinnati, which he was quite willing to do. The 
decision having been made, I was astonished when he 
returned from rehearsal and said to me : " I want you 
to pack up, so that we can leave here to-night." Noting 
my look of amazement, he continued : " I can't tell you 
why, but on my way to the theatre an overwhelming 
impression possessed me to start for home ; I could not 
shake it off. I told my friend that I was called home, 
and asked him to say what my name on the bill was 
worth to him, and oblige me by accepting a check instead 
of my services ; so that is all arranged." 

Presentiments and forebodings were so utterly incon- 
sistent with Mr. Owens' nature that I could not realize 



JOHN E. OWENS. 119 

that he was actually altering his plans on that basis, and 
queried : " Have you bad news from home which you 
intend to break to me gradually ? " He assured me to 
the contrary. 

We left by the midnight train. Mr. Owens did not 
appear at all depressed, but bright and cheerful all the 
journey. We were not expected at home till several days 
later, therefore no carriage was at the County station to 
meet us. Mr. Owens procured a wagon, and we jolted 
slowly along. Our arrival was a joyful surprise. The 
family, at that time, consisted of Mr. Owens' father and 
mother. They were both seated on the portico, as we 
drove up, and greeted us with exclamations of delight. 

I don't think four happier people existed that charm- 
ing summer afternoon, as we chatted together with the 
blessed sensation of homefelt rest and peace. A few 
hours later Mr. Owens said to me : " Just see the ab- 
surdity of presentiments ! If we had found sickness or 
trouble at home, my strong impression to return would 
have been regarded as a warning. On the contrary, ' all 
is well ' to the full extent of that comprehensive phrase." 

The next morning, at ten o'clock, Mr. Owens' mother 
died suddenly of heart failure. He was standing beside 
her, when she fell back in his arms and expired with 
loving gaze fixed upon him, but powerless to speak. I 
do not say that this sad event was foreshadowed ; I only 
tell the facts. 



120 MEMOKIES OF 

The loss of Mr. Owens' mother was the first grief of 
his hitherto sunny life. He loved her with a devotion 
and tenderness which only a pure and noble nature is 
capable of. Thoughtful and attentive to her comfort, 
his every word seemed to convey a caress which her 
warm heart cherished and responded to. They were 
alike in nature, and worthy of each other. For months 
after her death Mr. Owens did not resume his profession. 
Most of the time was passed on his farm. He bore his 
affliction bravely, but he suffered intensely. 

His first engagement of 1863 was in Boston, from 
thence (as oft before) a tour of the New England towns. 
The company at this time was superb, including E. L. 
Davenport, Wm. Wheatley, John Gilbert, and other fa- 
mous names. In fact the cast was a galaxy of stars. 
Old comedies were the leading attraction : "Heir at 
Law" "Poor Gentleman" "She Stoops to Conquer," &c. 
One of the most pronounced events was the production 
of " Money" brilliantly performed throughout. The im- 
pression Owens made as Graves was immense; he not 
only elicited triple calls, but encores after the most 
effective scenes. 

A return engagement was played in Boston by this 
grand combination of talent, with results even greater 
than that of a few weeks previous. Boston was one of 
the cities which Owens especially loved. He had there 
many warm and congenial personal friends, and as an 



JOHN E. OWENS. 121 

actor was ever en rapport with his audience. He was a 
favorite with Longfellow, Holmes, Agassiz, Felton, and 
others of that wonderful literary coterie. The public of 
Boston claimed him for their own, as also did Baltimore 
and some other cities. Though born in England, Owens 
belonged to America. Through all the length and 
breadth of this country the mention of his name will 
cause a twinkle of the eye and a joyous remembrance of 
his mirth-provoking genius. 

Leaving Boston he returned to Baltimore, appearing 
there in a round of his popular characters, which he 
repeated the following week in Washington. Much of 
this season was passed quietly on the farm, restfully and 
pleasantly affording an opportunity to indulge in reading 
and study, of which Mr. Owens was very fond. An 
enthusiastic lover of Shakespeare, he was a close stu- 
dent of the immortal bard ; always discovering fresh 
beauties and new points of interest in the most familiar 
passages. He delighted to read over and over again 
a favorite speech, and discuss its intricate yet clear 
significance. 

In the copy of Shakespeare, which he read oftenest, I 
find on the fly-leaf the following quotation from Dr. 
Johnson : " Time which is continually washing away the 
dissoluble fabrics of other poets, passes without injury by 
the adamant of Shakespeare." Mr. Owens was not only 
cultured and refined, but scholarly in his taste. As a 



122 MEMORIES OF 

comedian his Shakespearean characters held exalted posi- 
tion. "Touchstone" "The First Grave-digger" " Dromio 
of Syracuse" " Launcelot Gobbo" and others were enacted 
with the full quantum of humor, and yet legitimately 
and entirely free from coarseness. He would have con- 
sidered it akin to sacrilege to render them otherwise than 
in their integrity. 

About the middle of June, 1864, Owens received a 
letter from George Wood, formerly manager in Cincin- 
nati and St. Louis, stating that he intended to open the 
theatre, corner of Broadway and Broome street, New 
York, originally known as "Brougham's," and after- 
wards as " Wallack's." He purposed making it a comedy 
theatre, and desired to have Owens inaugurate it by 
being the first star. This place of amusement had 
deteriorated from a first class position, having verged on 
entertainments of the variety show species. 

Owens hesitated about entering into negotiations, 
though excellent terms were offered. Upon stating his 
objection to Mr. Wood, he was met by the argument that 
" the reputation of John Owens would elevate any theatre, 
and stamp its position as equal to the best." He was not 
so sanguine as the manager, but at length upon the promise 
of Mr. Wood to provide for support, "a company capable 
of playing the old comedies in a manner acceptable to a 
New York, audience," Owens signed a contract for six 
weeks, renewable if mutually satisfactory. 



.■ :*■ 



A. 






MR. OWENS as LAUNCELOT GOBBO 
In "The Merchant of Venice." 



JOHN E. OWENS. 123 

This he did with the consciousness that the circum- 
stances of his re-entree before the New York public were 
inauspicious, as he would have to overcome prejudice 
against the theatre in order to draw the class of audience 
to which he was entitled. That he accomplished this in 
a superlative degree, and won continued fame and enthu- 
siasm, marks a well-earned histrionic triumph which has 
never been excelled. 

August 29tb, 1865, Owens commenced his engagement 
at the Broadway Theatre, where thirteen years previous 
he had made his first success in New York. The opening 
bill was "Married Life" and "Solon Shingle." In both 
pieces he made a favorable impression, but in the latter 
an overwhelming hit ; a hit which grew into a sensation, 
and culminated in a furore. Crowds packed the theatre 
nightly, and before the rise of the curtain, "standing 
room" was unattainable. Owens' marvelous delineation 
of the old farmer became the leading attraction of New 
York. 

"Solon Shingle" was the theme everywhere. " The 
apple sass case," "Jesso, Jesso," and other quotations 
were heard on the streets, in the cars. Acquaintances 
meeting, facetiously greeted each other with : " Why, Mr. 
Winslow, how do you do?" On all sides "Solon" was 
the reigning excitement. "Married Life" was with- 
drawn after the first week, and " Victims " substituted. 
In this piece Owens won high encomiums. It was played 



124 MEMORIES OF 

eleven consecutive weeks ; then " The Poor Gentleman " 
was produced, and afterwards other comedies ; but all 
the while Solon Shingle kept steadily on increasing in 
popularity, and achieved the longest run hitherto known 
in New York, or any city in America. 

Noting the hundredth performance of Solon Shingle, 
one of the leading papers drew attention to many won- 
derful things history records to have taken place in that 
given space of time ; and terminated with the following 
paragraph : " In one hundred days France passed through 
the throes of two revolutions — lost a king, gained an 
emperor, and again bowed to a king. In one hundred 
days Napoleon left Elba, marched to the throne of 
France, fought Waterloo, and was conquered. In one 
hundred nights ( John Owens' fought a fight for popu- 
larity single-handed against the hordes of New York 
theatre-goers, and conquered them. In one hundred 
nights the Broadway Theatre passed from the position of 
a concert hall to the height of fashion. We take pleasure 
in chronicling such great victories. Solon Shingle will 
run additional hundreds of nights, if this great artist so 
chooses." 

A true prophecy, for it would have continued uninter- 
ruptedly the whole season, had not Owens, at the end of 
six months, become weary with the monotonous repetition 
of Solon, and suggested to Mr. Wood an entire change of 
bill. " What ! " said the manager, " take a piece off in 



JOHN E. OWENS. 125 

the full tide of success, while we are turning people away, 
and actually filling other theatres with our overflow ! " 
" Well, all the easier to pick up t Solon 9 again, when I 
have had a little rest from him," replied Owens. Mr. 
Wood finally yielded, when to these importunities others 
were added from friends of Mr. Owens who had seen 
him play " Caleb Plummer" and were desirous that New 
York should enjoy this masterpiece. "Dot" was pro- 
duced early in March, and Owens' Caleb Plummer proved 
to be a dramatic sensation. 

The encomiums lavished upon it were quite as numer- 
ous as those elicited by Solon Shingle, with the additional 
tribute that the artist had " mounted into an atmosphere 
rarer and more delicate than that which surrounds Solon 
Shingle." The piece was played a month to immense 
business, and universally conceded to be the most ex- 
quisite embodiment of Caleb Plummer ever witnessed. 

During this month Mr. and Mrs. Charles Kean arrived 
in New York. Mr. Owens had known them in England, 
and the pleasant acquaintance was now renewed. They 
remembered Owens as a young actor in Burton's Theatre, 
and many courteous references were made to his embryo 
talent in those days, and much pleasure expressed con- 
gratulatory of his present fame. 

The Keans came frequently to see Caleb Plummer. 
After their first evening's enjoyment of it Mrs. Kean 
wrote the following letter to Mr. Owens : 



126 MEMOEIES OF 

"Metropolitan Hotel, March 23d. 
"John E. Owens: 

"My Dear Sir, — Accept the best thanks of Mr. Kean and myself 
for the great pleasure you gave us on Saturday evening. We laughed 
and wept like children, over the amusing and touching simplicity of 
old Caleb ; and we both agreed that we had not for a long time seen 
such admirable acting. 

"You were very well supported, for the drama was well done 
throughout. Your Bertha was very blind and very handsome. Wish- 
ing you a great success in London. Believe me, my dear sir, 

" Yours truly, 

"Ellen Kean." 

Mr. Owens always prized this letter. 

Mr. Kean was equally enthusiastic about the perform- 
ance, and was also much impressed with Owens' make-up. 
"Why, my dear boy/' he said, "not only does your face 
simulate age, but your figure is shrivelled, your neck and 
hands are withered, and your eyes are dim ! What do 
you do with your sparkling eyes, and doesn't it take you 
a long time to accomplish this metamorphosis ? " Owens 
laughingly replied : " I allow myself fifteen or twenty 
minutes to dress and make up." Mr. Kean asked if it 
would be admissable for him to witness the process, and 
received a cordial assent. An appointment was made, 
and Kean looked on while Owens, quietly chatting, got 
old Caleb ready for the stage. When finished, Kean 
expressed amazement and thanks for what he termed " an 
artistic revelation." 



JOHN E. OWENS. 127 

Mr. and Mrs. Charles Kean came to New York with- 
out an engagement^ but with firm belief that an opening 
would be made for them in one of the leading theatres. 
No disposition was evinced to meet their views. Unfor- 
tunately all dates were filled for the season ; and the indi- 
cations were that they would have to abandon the idea 
of playing in New York. Mr. Owens thought that these 
famous artists should not be permitted to return to Eng- 
land without receiving the honor and attention to which 
they were entitled — and additionally conferring upon 
their many admirers the pleasure of enjoying their per- 
formances. He spoke to Mr. Wood, expressing his desire 
to relinquish a fortnight of his engagement, the time to 
be placed at the disposal of the Keans. Mr. Wood com- 
plied with this solicitation to make a special opening for 
the Keans ; and offered them a fortnight engagement, 
which they accepted. 

Mr. and Mrs. C. Kean were appreciative of this 
courtesy extended to them by Mr. Owens, and cordially 
expressed acknowledgment. They played to full houses 
for the two weeks ; at the end of which time Owens re- 
sumed his engagement, appearing in " The Live Indian " 
and " Solon Shingle" This bill continued to be strong 
attraction until the close of the season. Solon Shingle 
became identified with Owens' name, so much so that he 
received many letters facetiously directed to "Solon Shin- 
gle Owens" and " John E. Owens, care of Solon Shingle," 



128 MEMORIES OF 

&c. I have in my possession many humorous epistles of 
the kind, two of them very wittily written by Howard 
Paul, in England, but as they are of a social and some- 
what confidential nature, I do not incorporate them in 
my narrative. 

Owens' Solon Shingle was a finished piece of character 
acting, perfect in detail, and yet free from exaggeration. 
The power of the artist is prominent from the fact that 
this great success was evolved from a mere sketch, which 
his own genius elaborated and clothed with vitality. 
This marvellous portrayal has formed the basis for many 
rural dramas, wherein the central figure is a palpable 
imitation of Owens' original conception and manner of 
playing Solon Shingle; but their light is a borrowed one, 
relatively as bright as the moon compared to the sun. 

One performance was given in Brooklyn for the benefit 
of the Orphans' Asylum there. A crowded house brought 
large pecuniary aid to the orphans, and their presence 
secured for them au unusual enjoyment, if one might 
judge by the silvery peals of childish laughter. 

Several portraits of Solon have been taken, prominent 
among which are two oil paintings — a full-length figure, 
by Constant Meyer, and a life-size three-quarter length, 
by A. Cross, of Louisville, Kentucky. The former 
excelled in artistic merit and finish, but the latter was 
equally striking as a likeness, and perhaps more charac- 
teristic. Constant Meyer's picture was on exhibition in 








MR. OWENS as SOLON SHINGLE. 

(From a Painting by Constant Meyer.) 



JOHN E. OWENS. 129 

New York for some time, and attracted much attention. 
It was subsequently purchased by a wealthy French 
gentleman, and is now in his private collection in Paris. 
The painting by Cross was taken for Mr. Owens, who 
considered it admirable. It found place in his library, 
the position it still maintains among other treasures. 

The celebrity attained by Solon Shingle rendered it 
thereafter inseparable from Owens' repertoire, but it was 
by no means his favorite. I think he best loved Caleb 
Plummer, and he was devoted to the old comedies. He 
gave conscientious work to all he did, but in some 
characters he especially delighted. He revelled in the 
unctuous humor of Perky n Middlewick, and played that 
jolly butter-man with power unexcelled. A slight touch 
of dialect conduced to the naturalness with which he 
invested the part. He was peculiarly gifted in render- 
ing dialect, not only of nationalities, but the delicate 
shading of localities. The Lancashire, Yorkshire and 
others were spoken with a nicety of accent that would 
delight those whose ear and taste were attuned to the 
accurateness of tones. 

May 27th, 1865, Owens sailed per steamer City of 
Boston, for England, to fulfil an engagement of six 
weeks, for which he had signed with Benjamin Webster, 
to play Solon Shingle at the Theatre Royal Adelphi, 
London. He had hoped for a week or two of leisure 
before leaving America, wishing to pass a few days at 
9 



130 MEMOEIES OF 

home on the farm, and also to have time for enjoying the 
social companionship of his friends in New York. To 
his surprise Mr. Wood refused to release him from any 
portion of the engagement for which he had contracted. 
In vain was monetary remuneration offered, and the 
surety of supplying a star to fill the unexpired time 
pleadingly urged. 

Mr. Wood was inexorable ; no inducement could alter 
his determination that " Owens must play continuously 
up to the time of his departure/' So the curtain fell on 
his final performance within ten hours of the sailing of 
the steamer. He had not the opportunity of even a 
hurried adieu to his friends. Naturally he felt vexed 
and distressed at being obliged to leave in this abrupt 
manner. Conduct seemingly so discourteous was incom- 
patible with his nature ; and to extricate himself from a 
false position he wrote (on the eve of his departure) the 
following card for publication in the New York Herald : 

"A Card from John E. Owens to the Public. 

"The lengthy period of my twice-extended engagement at the 
Broadway Theatre has now closed, and I am left free personally to 
express, in terms of unconstrained sincerity, my grateful appreciation 
of the cordial favor and unvarying kindness, and generous considera- 
tion with which my professional efforts have been received by the 
public of New York. 

" Success does not at all times appeal to the same emotions ; and 
though in my long and varied professional experience it has been 



JOHN E. OWENS. 131 

my proud fortune to receive many flattering and cherished marks 
of popular favor and esteem, yet never before has my pride as an 
artist and my gratitude as a man been more deeply stirred than 
by the kindnesses here lavished upon me; and I can but say that 
the thanks which now I seek to convey spring from the most earnest 
and warmest impulses of my nature. 

"To the gentlemen of the critical press, whose impartial sense of 
justice and of the true requirements of art, have pointed alike their 
praises and their censure, I rest under many courteous obligations 
which will be as pleasantly remembered as they are now warmly 
acknowledged. 

" In a few hours I shall bid adieu to the citizens of New York, to 
gratify in a distant land those ambitious longings which their favor 
has intensified and stimulated anew. But in the comparatively brief 
period of my absence my heart will still be linked to them by the 
proudest and happiest recollections, and by the cherished hope that 
their esteem may prove as enduring as the gratitude of 

"The Public's obedient servant, 

"John E. Owens. 
"New York, May 27th, 1865." 

The engagement thus terminated had been of nine 
months' duration, and for length, brilliancy and success 
was unprecedented in the record of New York theatricals. 
The overflowing house which greeted the star on the 
closing night attested his unabated popularity. Financi- 
ally it was phenomenal in results ; Mr. Owens' personal 
emolument being $65,891.39. 



CHAPTEE VI. 

Adelphi Theatre, London — Cordial welcome from manager and personal 
friends — Professional antagonism — "A wonderful artist" — Charles 
Dickens — Charlotte Cushman — "Solon Shingle a diamond among 
rubbish" — Liverpool engagement — Home again — January, 1866 — 
Re-appearance in New York — An ovation — Uncle Solon Shingle at 
Boston Theatre — Labor saving machines — The cow-milker — Non- 
progressive — 1866 — Opens season in Philadelphia — Western tour — 
"I 'lowed he was goin' to throw knives" — They "wanted to see 
Owens' diploma" — Demoralized farm laborers — "We see'd you 
play Solon Shingle last night" — Hospitality — "John Owens the 
farmer, and John Owens the actor" — Visit to a circus — "Consider 
Mr. Robinson's feelings, cully." 

CT HORTLY after Owens arrived in London "Solon 
**^ Shingle " was put in rehearsal. Benjamin Webster, 
manager of the Adelphi, received the American come- 
dian with cordiality, and manifested every disposition to 
render his surroundings in the theatre agreeable ; and 
many warm friends welcomed him to London. What- 
ever coldness he encountered arose from professional 
antagonism. To this phase of feeling there were pleasing 
exceptions; but the theatrical atmosphere was largely 
charged with the unuttered thunder of "we don't want 
you here," and "we hope you will be a failure." For- 
132 



JOHN E. OWENS. 133 

tunately this stormy and disagreeable element did not 
possess the public. 

From the first night of Owens' appearance in London 
he made a favorable impression, which steadily increased 
as his engagement progressed. The house that welcomed 
him was full, and not only fashionable, but intellectual 
and discriminating. Among the audience were Charlotte 
Cushruan, Hon. B. F. Moran, American Minister, Charles 
Dickens, and other famous people, distinguished in lit- 
erary and social life. From Dickens, Miss Cushman, 
and many others present, Mr. Owens afterwards received 
warm congratulations, and pleasantly written notes of 
commendation, which with his innate modest unobtrusive- 
ness he refrained from making public. But he prized 
these kindly words from such illustrious sources, and 
always kept them. They are now in my possession, and 
regarded as an invaluable heritage. 

The English public were not familiar with the special 
type of individuality embodied in Solon Shingle, but they 
recognized it as a magnificent piece of character-acting ; 
and rendered homage to Mr. Owens' talent in the verdict : 
" The worst play we have had from America, but the 
best comedian. The piece a failure, but Solon Shingle a 
great hit." 

Everybody was enthusiastic over Owens' wonderful 
powers of delineation, and irresistible humor. The 
theatre was thronged by an audience delighted with the 



134 MEMORIES OF 

power of an actor who could win unqualified praise, 
when handicapped with such a poor piece as "Solon 
Shingle." Universally the play was condemned • but 
the voice of the public was forcibly given in one of the 
leading papers, in speaking of Solon Shingle as being 
the ruling sensation : " The man who found a diamond 
amongst a heap of rubbish is not reported to have talked 
much about the rubbish. The play-goers will find 
Owens' Solon Shingle the diamond in the dust-heap ; 
the piece is not worthy a second thought. The diamond 
has a bad setting ; but anything more brilliant than the 
gem itself we have never seen." 

Owens not only made a success in London, but a 
triumphant one. The fact that the English public did 
not accept the piece with favor, in no way deteriorated 
from the artist's celebrity, but on the contrary added 
thereto. Before the six weeks of his original contract 
with Benjamin Webster had expired, an offer was made 
to extend the engagement until September. This Mr. 
Owens consented to do ; continuing to draw large and 
appreciative audiences, and being complimented by en- 
thusiastic calls nightly, encores of scenes, &c. 

The London engagement having been concluded, Owens 
played a fortnight at " The Prince of Wales Theatre," 
Liverpool. From the opening to the closing night was 
a series of well-earned triumphs, responded to by a hearty 
jovial audience who gave vent to their approval with a 



JOHX E. OWENS, 135 

cordiality that warms an actor's heart, and stimulates 
him to his best work. AYhile in London, and afterwards, 
Owens received flattering offers from several leading 
theatres in the provinces. These he declined, as he had 
already prolonged his absence from home far beyond the 
time allotted. 

Some weeks previous George Wood wrote reminding 
Owens of the offer for the following season at the 
" Broadway," Xew York, which had been made before 
his departure for England. Mr. Wood urged that fa- 
vorable consideration and an early reply be given to this 
offer ; and suggested opening in November with " Vic- 
tims " and "Solon Shingle" Mr. Owens accepted the 
offer conditionally, but declined to commence at so early 
a date ; naming January 8th as the time which would 
suit him. For this delay he had more than one reason. 
He desired to have a few days' relaxation at home ; and 
he was averse to reappearing in Xew York with insuf- 
ficient rehearsals. Moreover he intended, before playing 
Solon again, to reconstruct the piece. 

The English opinion of its ninisiness turned his 
thoughts to the advisabilitv of introducing the same 
old Solon to the public with improved surroundings. 
Though not blindly swayed by criticism, Mr. Owens 
always gave it consideration ; and was quite willing to 
acknowledge any imperfection pointed to, if it was 
apparent to him, and improvement suggested could be 



136 MEMORIES OF 

made. His reflections on the play of Solon Shingle 
resulted in the creation of a three-act drama, entitled 
"Uncle Solon Shingle" This was formulated by Mr. 
Owens, Clifton Tayleure, and others; and finally re- 
vised by Mr. Owens. 

In November, 1865, Mr. Owens returned from Eng- 
land, having been absent six months instead of less than 
half that time, as originally intended. He proposed 
indulging in a home-rest on his farm until his presence 
was required in New York. But hosts of friends and 
admirers in Baltimore were so importunate for him to 
play in that city, that he consented to do so for a few 
nights. Opening in Caleb Plummer and Happiest Day 
of My Life, November 26th, he received a glowing wel- 
come. This appreciation continued for the entire two 
weeks, during which time he appeared in various char- 
acters. 

January 8th, 1866, Owens made his re-entree at the 
Broadway Theatre, New York, producing " Uncle Solon 
Shingle." He was greeted with a hearty reception, 
the house being jammed, notwithstanding bitterly cold 
weather — the coldest night ever known in that locality ; 
thermometer twenty degrees below zero. This chilliness 
did not seem to pervade the sentiments of the audience. 
The enthusiasm of the former season had in no wise 
abated, but appeared to increase as they renewed their 
acquaintance with " Solon Shingle." 



JOHN E. OWENS. 137 

The new comedy, though it was poorly cast, met with 
approval ; nothing being lost of Solon's eccentricities and 
amusing peculiarities. Increased interest was added to 
the old man's movements from the fact that he had 
strong motives for every action in this play, which had 
a plot to sustain it. A month's run of "Uncle Solon 
Shingle " was given to crowded houses ; and so it would 
have continued, but urgent requests being made for 
"Caleb Plummer" Owens, ever inclined to play that 
part, changed the bill. After a pleasing episode of 
" Caleb Plummer" the public clamoring again for "Solon 
Shingle" he concluded to play the one-act piece, that 
he might give the younger characters with it as a con- 
trast : this being impossible with the three-act " Uncle 
Solon Shingle" as its length precluded a double bill. 
Unabated prosperity continued until the closing night 
at the Broadway, April 28th, 1866. 

The comedian's next engagement was at the Boston 
Theatre, beginning May 12th. "Uncle Solon Shingle" 
held the boards the entire twelve performances, and 
gave promise of cramming the house indefinitely had 
he been able to prolong his stay in Boston, but he 
was under contract for Providence, and other New 
England towns. These dates satisfactorily filled com- 
pleted the professional labors of 1865-66. This sojourn 
in Boston recalls an incident which occurred at that 
time. 



138 MEMOEIES OF 

Mr. Owens was ultra-progressive — always kept abreast 
of the times, and availed himself of every facility to 
expedite business. His telegraphic correspondence was 
in excess of that by mail. All labor-saving inventions 
received investigation from him ; and those possessing 
merit were added to his already numerous agricultural 
implements. Reapers, binders, &c, of the most approved 
patents, abounded at Aigburth Vale. Jocosely he would 
say to me : " You are n on-progressive, or your housekeep- 
ing would be better supplied with modern inventions ; 
but I won't censure your ' grandmother's y system while 
the results are so satisfactory. All the same you are 
non-progressive." While in Boston we made our usual 
tour of inspection in Cornhill. After persuading me 
to purchase sundry labor-saving kitchen utensils, Mr. 
Owens had his attention called to a patent cow-milker, 
which being explained to him, found favor in his sight ; 
and the dealer was instructed to pack it with the nu- 
merous articles to be expressed to Aigburth Vale. 

Shortly after our arrival at home, Mr. Owens observed 
to me : "I think I will personally test that cow-milker 
before giving it in charge of the milking boy ; my best 
opportunity to do so will be while the farm people are 
away at dinner. I might as well experiment to-day ! " 
Laughing and joking, he sallied forth at noon, and 
wended his way to the cow-house ; but in less than half 
an hour he returned, looking much discouraged, and 



JOHX E. OWEXS. 139 

bearing upon his coat evidence of contact with dust. I 
refrained from questioning, but soon he remarked : " I 
can't manage this machine alone. The 'sarned cows 
switch their tails so viciously." I suggested that we 
should make a combined effort to prove the utility of 
the milker ; he assented, and the next day at noon we 
went to the cow-house. 

Mr. Owens selected a mild-looking Alderney, placed 
the milking stool and pail for me, adjusted the patent 
milker, and then holding the cow's tail in one hand, with 
the other turned the crank. The cow kicked (literally 
and figuratively) against the machine. I was precipi- 
tated to one end of the cow-house, and Mr. Owens to the 
other. Regaining our feet, we gazed a second at each 
other, and then broke forth into peals of hearty laughter. 

Clearing away all traces of our discomfiture, we re- 
turned somewhat crestfallen to the house. With a merry 
twinkle of the eye, Mr. Owens said : " I suppose you 
think this wonderful invention is a failure ! Nothing of 
the kind. The blame rests entirely with the cows. They 
are now-progressive — like — like — yourself ! " Whereupon 
we had another hearty laugh. 

The cow-milker was never again tested. Some time 
afterwards I came across it in a trunk, the contents of 
which Mr. Owens had desired me to catalogue ; but this 
article he had already classified by placing upon it a tag 
labelled: " Owens' follv." 



140 MEMORIES OF 

The summer vacation of 1866 was passed at Aigburth 
Vale, except a month at the Virginia Springs. Septem- 
ber 24th Owens began his season in Philadelphia, at the 
New Chestnut Theatre, W. E. Sinn, manager; Caleb 
Plummer being the initial character. As usual, much 
praise was lavished on this exquisite and beautiful piece 
of acting ; so perfect that no trace of acting was visible, 
for nature and art were so charmingly mingled that the 
illusion was complete in consistency and naturalness. 

~No one ever thought of Owens ; he was merged into 
Caleb Plummer — his personality entirely lost. One of 
his greatest charms was, that he was never obtrusive ; 
he had mastered the great art of repose, and in everything 
he did, the thorough rendering of the play was his object. 
At no time did he subordinate the supporting cast to 
himself, that he might be elevated higher ; on the con- 
trary he was always desirous for even the smallest part 
to be well played, and receive deserved praise. To this 
end, he was careful at rehearsal to be as helpful as pos- 
sible in promoting opportunities for developing good 
points for each and every one in the cast. 

When any of the company (especially the younger 
people) played a part meritoriously, Mr. Owens took 
pleasure in seeking them after performance, and to his 
commendation adding thanks for the support they had 
given him. I have heard many persons (who now have 
assured prominence in the profession) refer to the en- 



JOHN E. OWENS. 141 

couragement and kindly words thus given them by Mr. 
Owens, in their early career. They valued his praise, 
for he was equally quick to detect incompetence or 
carelessness, and did not hesitate to speak forcibly of 
these shortcomings. 

"Solon Shingle" and the "Live Indian" were given 
the second week at the Chestnut Street Theatre ; "Solon 
Shingle " and "John Dobbs" the third week. " Victims " 
and the "Live Indian" constituted attractions for the 
fourth week, which concluded a satisfactory engage- 
ment. 

On the 12th of November Owens appeared at the 
National Theatre, Cincinnati, in "Self" and "Happiest 
Day of My Life" to what was pronounced by the mana- 
ger "the biggest crowd ever in that very big theatre." 
The bill was unchanged for two weeks, then succeeded 
by other pieces for a fortnight. One week in Buffalo, 
another in Troy, filled the time to December 17th, for 
which date he was booked to begin an engagement of 
four weeks at the Broadway Theatre, New York. The 
opening attraction was Solon Shingle, of whom the public 
never seemed to weary. Solon was supplemented by The 
Live Indian, Forty Winks, and other short plays. The 
houses kept up to Owens' original standard at the 
Broadway Theatre, and that announcement, so pleasing 
to a manager's eye, " standing room only," was nightly 
indispensable. 



142 MEMORIES OF 

From New York Owens went to Newark, playing 
with D. W. Waller, who was managing the Opera 
House with a first class company. Four nights were 
pleasantly filled there. January 28th inaugurated a 
satisfactory week in Louisville, Ky. As it drew to a 
close the manager made a request, at the instigation of 
the citizens of New Albany, that Owens would play one 
night in that town. At the same time promising to 
arrange all details of company, scenery, &c. Owens con- 
sented, and directed "Solon Shingle" and "Live Indian" 
to be announced for performance. 

The night arrived, and brought all one could wish in 
the way of numbers and enthusiasm. Many cultured 
people were present, but the crowd included considerable 
rough element. The town had been lavishly billed by 
the manager. Some of the posters of "The Live Indian" 
being very showy, attracted much attention, which led 
up to somewhat of a mistaken impression. This inad- 
vertently came to the ears of the star. As he and his 
agent were taking supper in a restaurant, two men who 
occupied a table near by began to discuss the play. One 
of them seemed jubilant, and declared "the show was 
chock full of fun." The other disagreed, and remarked : 
"Well, to tell the truth, I was terribly disapinted." 
"You laughed tarnation much," rejoined his- friend. 
" Yes, I s'pose I did, and enjoyed the feats, but still I 
warn't satisfied with the show. From them thar Indian 



JOHN E. OWENS. 143 

picters I 'lowed the feller was going to throw knives or 
do juggling tricks. I tell you I was misled — it warn't 
a square show." 

It was in this same town that a gawky individual 
came to the box-office, and stated that " he wanted to see 
Mr. Owens' diploma." The bewildered treasurer was 
about to ask for an explanation, when the man added : 
" I want to get some seats." With this flood of light 
upon his meaning, the diagram of seats was courteously 
submitted for inspection. 

The next date to be filled was February 18th, in New 
Orleans. Six years had elapsed since Owens played 
there. The Civil War which devastated the South, had 
made marked changes during the interval ; but some of 
the old families yet remained. Their cordial welcome 
was extended to our comedian as a favorite actor and a 
cherished friend. In the new element of the community 
were numbers with whom he had established popularity 
in other sections of the country. 

This visit to New Orleans was at the solicitation of 
Ben DeBar, manager of the St. Charles Theatre, and it 
was the only departure Owens ever made from being 
located at the " Varieties Theatre," when playing in the 
Crescent City. DeBar knew that the re-entree of New 
Orleans' favorite comedian would create a sensation, and 
asked on the basis of old acquaintance, that the eclat 
should be given to his theatre in preference to the new 



144 MEMORIES OF 

management at the " Varieties." Owens consented, and 
opened his engagement at the St. Charles in "Solon 
Shingle " and " The Live Indian." 

The New Orleans public had, years before, given full 
meed of praise to Solon Shingle, as played by John E. 
Owens ; and the press now plumed itself on having 
discerned and dilated on this merit in advance of the 
furore which its performance had created in New York. 
The two weeks at the St. Charles Theatre bore no novel 
record. I should but tautologize were I to speak of the 
crowded houses, and manifestations of approval and de- 
light. After a short rest at home, an engagement was 
filled at the Holliday Street Theatre, Baltimore, with 
John T. Ford as manager ; beginning with Victims and 
Solon Shingle — followed by The Rivals, Heir at Law, 
Sweethearts and Wives, Ticket-of-Leave-Man, and other 
comedies of his repertoire. The attendance and success 
was nightly in accord with Owens' great popularity. It 
was during this engagement that an old acquaintance 

(Judge S ) came up to the comedian one morning at 

Barnum's, while he was breakfasting, and said : " John, 
I saw you play Solon Shingle, Monday night — funny old 
man. I laughed all the time — always do. But you play 
another old fellow, quite different, but even funnier — that 
miserly chap who hunts for a bed, and tries to steal a 
nap from the tavern keeper ! What is his name ? " 
" i Spruggins/ in Forty Winks," replied Owens. " Yes, 




MR. OWENS as FRANK OATLAND 
In "A Cure for the Heartache." 



JOHN E. OWENS. 145 

yes ; that's it. Say, John, why don't you play him f " 
" I played the piece last night." " Well, why don't 
you play him again f " " Just give me time." " Yes, 
yes ! John, play him again." Moving off to the door, 
the Judge called back : " Play him again John, keep 
on playing him. I want to see him often." Whereupon 
the guests at the table were much amused, and Owens 
rather embarrassed by this conspicuousness forced upon 
him. 

While professionally engaged in Baltimore, Mr. Owens 
always went out to the farm (if only for an hour or two), 
on such days as no rehearsal occurred. In one of these 
visits he had occasion to inspect some work recently done, 
and to direct future employment. He found that the 
work had, through carelessness, been badly botched. Of 
course he was indignant, and proceeded to set forth to 
the men their shortcomings, and his consequent dis- 
pleasure. 

Instead of excuses, or looks of contrition which usually 
responded to such rebukes, the men seemed to find diffi- 
culty in suppressing laughter. Some of them turned 
their backs and walked off a few paces, and all appeared 
demoralized. This conduct enraged Mr. Owens, and he 
was about to discharge the entire party; when one of 
them stepped forward, and exerting much self-control, 
said apologetically: " Indeed, Mr. Owens, we are sorry 
the work is wrong, and we beg your pardon for laughing ; 
10 



146 MEMORIES OF 

but we couldn't help it. We saw you act Solon Shingle 
last night, and was a- talking it over when you corned up, 
and — and (here another smothered laugh) — and — please 
excuse us, sir ; we hadn't got over the funniness, and 
couldn't listen just right when you began talking serious." 

Owens called up his gravest demeanor, and bade them 
" in working hours to keep their minds on work ; " 
turned away, and walked to the house, pursued by sub- 
dued giggling. He used to, laughingly, say that the 
moral of this incident was : " Never allow your servants 
to see you play a comic part if you wish to maintain 
dignified authority." 

From Baltimore Owens went to Washington, playing 
a varied round of characters at the National Theatre, 
under the management of Spalding and Eapley ; then 
short engagements in Albany, Utica, and other New 
York towns ; after which he filled three weeks in Boston. 
The record of the time I have thus condensed was satis- 
factorily monotonous, being an experience of professional 
success, and pleasant social intercourse with friends ; 
agreeably rendering a fitting termination to the season 
of 1866-67. 

A portion of the ensuing vacation was passed at Brat- 
tleboro, Vermont, and the remainder in the repose of 
home comfort at Aigburth Yale ; where, as usual, friends 
from time to time enjoyed the hospitality of "Farmer 
Owens," and added to the pleasure of his home by their 



JOHN E. OWENS. 147 

presence under his roof. Guests he dearly loved to have, 
when they would be informally of the family circle ; but 
company requiring frigid conventionality did not at all 
accord with his idea of companionship. 

He liked to have his friends sally forth with him, 
and inspect stock, fields of growing grain, vineyard 
and orchards; and would wax eloquently in praise of 
country life. I have known guests to catch the enthu- 
siasm, and express desire to buy a farm. Then Mr. 
Owens would look solemn, and warn them against such 
a step ; invoking the amazed query : " Why not? You 
find everything delightful here, and such stock, such crops 
must bring you in a good return for the investment ! " 
" Delightful ? yes ; but revenue ? no. Honestly I tell 
you that if it were not for John Owens the actor, John 
Owens the farmer would starve. I don't want it on my 
conscience that I have led another man to assume the 
responsibility (though enjoyable in some respects) of sup- 
porting a farm." 

No one thoroughly knew the true inwardness of Mr. 
Owens' broad nature until they associated with him in 
his own house. There the sunshine of his presence was 
experienced to its full extent, making each visitor feel 
"this is my home while I am here." Mr. Owens was 
essentially jovial, and had ever a pleasant greeting for 
acquaintances even casually met. I have heard many 
say that ofttimes when depressed, passing moodily along 



148 MEMORIES OF 

the street, the sight of Owens' bright face and merry 
smile would dispel the clouds, and make them cheerful 
again. 

During August of this home-rest, much excitement 
pervaded the adjacent village of Towsontown, anent the 
arrival of old John Kobinson's Circus. Mr. Owens 
insisted on our household attending the afternoon per- 
formance ; and as we had at that time a young relative, 
of seven years old, staying with us, we all consented to 
go, "just to please the child." (Strange ! how often 
ehildren are the alleged cause of grown-up people visiting 
a circus.) Mr. Owens took charge of the party ; we 
clambered over the rough benches, and were comfortably 
seated before the orchestra heralded the " grand entree " 
into the ring. In less than ten minutes some of the 
circus people had recognized Mr. Owens, and communi- 
cated the fact of his presence in the audience ; thereafter, 
from the clown to the ring-master, the dialogue was 
spoken at him. Gradually this dawned upon the con- 
gregated multitude, and afforded them much enjoyment. 

Our friends and neighbors seemed intensely amused 
at sundry personal and local hits, and even more so 
at the increasing embarrassment of Mr. Ow T ens. His 
confusion culminated when, between two acts of horse- 
manship, the door-keeper came in breathlessly, and 
casting a searching glance around the tent, discovered 
Mr. Owens. He made straightway for him, and in a 



JOHN E. OWENS. 149 

wheezing (but alas ! audible) voice said : " Mr. Owens, 
here's your money back. You hadn't oughter pay to 
come in here ; Mr. Robinson would feel 'urt if we took 
pay from a big light in our perfesh ! So here's your 
money, Mr. Owens." Mr. Owens declined to be re- 
imbursed, but was met with persistent remonstrance in 
pleading tones : " Now, I just ask you to please consider 
Mr. Robinson's feelings, cully ! " 

By this time the discussion had attracted concentrated 
attention ; and to avoid further conspicuousness, Mr. 
Owens was obliged to receive the money. The amount 
being speedily invested in peanuts, pink lemonade, &c, 
for the child, gorged that youngster to his temporary 
delight and subsequent illness. When the first half of 
the programme was over Mr. Owens escaped from the 
tent, and returned no more until he came to escort the 
party home. At night he sent all the house servants 
and every farm laborer on the place to the circus. When 
I jestingly asked, "Are you going to-night? " he replied : 
"Never again to a circus in my own neighborhood. No, 
not for a herd of Alderneys as a reward." 

Mr. Owens dearly loved a good story, and if the point 
of it was against himself he seemed to derive the greater 
pleasure from telling it. Adjoining the boundaries of 
Aigburth Yale, a German owned an acre or two of land, 
upon which stood the little home he had built. The 
man had but slight command of English, and Owens 



150 MEMORIES OF 

having some knowledge of German endeavored to com- 
municate with him through that language ; and managed 
to be understood so long as the subject of discourse was 
lending a horse, plough, or aught else to the German. 
The same intelligibility was not apparent about a matter 
upon which it was necessary to speak often, viz., the 
breaking down of fences by the German's cbw, hogs, 
or boys. 

Many mild exhortations proving ineffectual, Owens 
discovering one day a fine field of grain trampled down 
through repetition of the offence, lost all command of 
patience and temper. Giving full vent to his indignation, 
he roundly berated the man with forcible expletives in 
strongest English. The countenance of the Teutonic 
cottager remained placid until Mr. Owens paused for 
lack of breath ; when he stolidly remarked : " Mr. 
Owens, dot ish not de Sharman language." The effect 
was like a douche bath. Mr. Owens calmed down, re- 
gretting that " so much good rage had been wasted." 

The season of 1867-68 commenced in quite a different 
locality from any previous one. September 19th, the 
comedian appeared at the Opera House, Leavenworth, 
Kansas, under the management of Miss Susan Denin. 
Many persons will remember Susan Denin as a beautiful 
woman and clever actress. The fame of the lovely 
" Denin sisters " extended throughout the country. Susan, 
a perfect type of brunette beauty, and Kate, equally 



JOHN E. OWENS. 151 

enchanting in blonde loveliness. Both of them were 
charming in manner, and made hosts of friends, who 
admired them for their manifold attractions and their 
devotion to each other. To this popularity Susan Denin 
added the qualification of a competent business woman, 
which was evinced by her theatrical management at 
Leavenworth ; and there, aided by G. D. Chaplin, the 
lessee, she achieved for the Opera House position and 
success. 

Leavenworth at that time was a very different place 
from the enterprising city it now is. No unusual occur- 
rence then to meet in one's daily walks Indians attired 
in their native costume, and gay with painted faces ; 
still many cultured people resided in the town and sub- 
urbs. At Fort Leavenworth, the military post, quite a 
number of distinguished officers were stationed, who 
together with their families were a valuable acquisition 
to the refined society of the town. Thus the audience 
which greeted the comedian, was not entirely of the 
typical " far west " aspect. Many of the leading citizens 
called upon him to renew acquaintance pleasantly made 
elsewhere, and introduced friends of theirs. 

Among the strangers presented was one whose gentle- 
ness of manner and physical beauty rendered him 
conspicuous. He was clad in huntsman attire, which 
well became his graceful and athletic figure. The golden 
hair worn in ringlets had no appearance of effeminacy, 



152 MEMORIES OF 

for the manly bearing and honest blue eyes invested him 
with quiet dignity. Mr. Owens did not clearly hear the 
name at the time of introduction, but being strongly 
impressed with the stranger, he questioned Mr. Chaplin 
next day. Great was his surprise at the reply : " J. B. 
Hickock, known as ' Wild Bill/ the most famous scout 
of the West." Having knowledge of this hero of the 
plains, he seemed incompatible with the quiet-mannered 
gentleman who had conversed so courteously for the 
pleasant quarter of an hour. 

The terror of the country round to those who had 
incurred his animosity, "Wild Bill" was chivalrous in 
his nature, and as honorable and generous-hearted as 
man could be; and without qualification he hated all 
Indians. For that matter so did many people in and 
around Leavenworth — apropos of which an incident. 
Owens innocently proposed to play "The Live In- 
dian; " the suggestion was received with much laughter. 
" Good gracious," said Mr. Chaplin, " the sight of you 
in an Indian dress would end your popularity here, 
perhaps your life. In fact I don't think we would 
get further than putting out the printing; for the 
pictures of the Indian (as an attraction) would most 
likely create a riot, and result in an attack on the 
theatre. No, my dear boy, this atmosphere is not 
favorable for the delineation of Indians ; for that " go 
east; go east, young man." 



JOHN E. OWENS. 153 

Leaving Leavenworth, Owens was next due at the 
Crosby Opera House, Chicago. Before starting for that 
city considerable chaffing went on at the theatre relative 
to the coming engagement, based on Mr. Owens' assertion 
that he expected to open to immense business or a dis- 
gustingly small house. " It is sure to be one or the 
other/' said he. " Chicago is a city I can never reckon 
upon ; I am always at extremes there." The chronic 
joking continued until his departure, when he prom- 
ised to telegraph them the amount of the gross receipts 
of the first night. On the 30th of September he appeared 
at the Crosby Opera House in Solon Shingle and The Live 
Indian, and the next day telegraphed the result to his 
friends in Leavenworth : "House, $1,548.90 ; " quickly 
receiving from the manageress the facetious response : 
" We don't believe there is so much money in the world." 
The opening bill continued unchanged for a week, and 
was followed by Caleb Plummer, Heir-at-Law, Every- 
body's Friend, Victims, &c. ; securing appreciation com- 
mensurate with Owens' genius and talent. 

The next date, October 21st, was at the Louisville 
Opera House, under the management of George F. Fuller ; 
from thence to Cincinnati to fill an engagement of four 
weeks with Samuel Colville. Solon Shingle, Victims, 
She Stoops to Conquer, Rivals, &c, being represented in 
a manner which multiplied the laurels of this famous 
comedian. The last week of the engagement was ren- 



154 MEMORIES OP 

dered memorable by the production of " Grimaldi; or, 
The Life of an Actress;" Owens having some time 
previous bought the sole right of that play from Dion 
Boucicault. 

The character of Grimaldi, the old French actor, is 
difficult to portray with discrimination and delicacy of 
touch, owing to its admixture of qualities. The tri- 
umphant hit which Owens made was another proof of 
his great versatility. His accent was faultless, and his 
bearing entirely natural. Voice and gesture, though not 
inspiration, are an actor's symbols; and he used these 
gifts to intensify a graphic picture. 

The divers phases in the life of the poor artist, step by 
step until he is seen as the rich nobleman, were sympa- 
thetically rendered, and a distinctive personation given 
of the tender-hearted old man who was merry, pathetic, 
ambitious, affectionate and proud, which held the audi- 
ence spellbound, and by its realism invoked the tribute 
of alternate smiles and tears. 

December 9th Owens returned to the Holliday Street 
Theatre, Baltimore, for twelve nights, appearing in his 
usual round of characters ; from thence to Washington 
for a few nights. December 14th, 1866, he played for 
the " Benefit of the Association for the Education of 
Southern Children." The free use of the Holliday Street 
Theatre, Baltimore, being tendered by Mr. John T. 
Ford (the company and attaches having volunteered their 



JOHN E. OWENS. 155 

services), the entire gross receipts were given to the cause. 
u All that Glitters is not Gold" and "The Happiest Day 
of My Life," with Owens in both pieces, constituted the 
bill. The immense audience was one of the most fash- 
ionable which ever filled the theatre, and the performance 
went off with eclat. 

Mr. Owens afterwards received a courteous letter from 
Mrs. Win. H. Brune, President of the Association, con- 
veying her thanks, and those of the ladies of the Board, 
for the aid extended to the cause. Mrs. Brune's manner 
of appreciating this offering, and the good wishes which 
she expressed, were so charmingly conveyed, that her 
letter was not only highly prized by Mr. Owens at 
the time, but found place among the mementoes he 
ever retained of sunshiny events in his professional 
life. 

January 20th inaugurated an engagement of two weeks 
in Philadelphia. Commencing with Caleb Plummer, he 
found that the dear old toy-maker had lost none of his 
attraction, nor yet his power to draw smiles and tears 
from those who had often before laughed and wept with 
him. From Philadelphia brief visits were made to 
Trenton, Newark and Brooklyn ; thence to Boston for 
three weeks, where he repeated the old comedies "Self" 
and " Caleb Plummer" the greater part of the time being 
filled with the latter attraction, which was always a great 
favorite in Boston. 



156 MEMORIES OF 

After a tour of the New England towns Owens re- 
turned to Baltimore, appearing at the Holliday Street 
Theatre in an entirely new character : "Farmer Allen" 
in Charles Readers dramatization of Tennyson's poem 
of "Dora." His conception and portrayal of Farmer 
Allen was equal in finish and dramatic power to anything 
he ever did. The imperative nature which veils (and 
even hardens) a loving heart, which endures self-torture 
while asserting "my will is law," was graphically 
drawn. The father's affection for his son, subordinated 
to maintain parental authority at all risks, was so forcibly 
personified as to render "Farmer Allen" one of Owens' 
masterpieces. The variety of emotions depicted — rage, 
grief, remorse and affection — require extraordinary power 
to convey them fully, and yet free from exaggeration ; 
and this Owens was equal to, blending and harmonizing 
these emotions perfectly. 

"Dora" was superbly staged; the exquisite painting, 
scenic effects and stage setting being the work of Mr. 
Charles S. Getz. Three scenes were given : Winter, 
Spring and Summer. All w r ere gems of art, but the last 
act was super-excellent — a wheat-field radiant in the 
glow of the setting sun, with the gleaners picturesquely 
grouped. The incidental music to "Dora" was effec- 
tively rendered, especially the Christmas Carols which, 
with fine voices and choruses, were a feature of the 
play. A western tour, including St. Louis, Cincin- 



JOHN E. OWENS. 157 

nati, Indianapolis and Cleveland, closed the season of 
1867-68. 

The summer vacation was passed at Aigburth Vale in 
luxurious restfulness — with two breaks therein of a pro- 
fessional nature. On these two occasions Mr. Owens 
played in Baltimore. Appearing in June as " Aminidab 
Sleek" and "Paul Pry" for the annual benefit of James 
L. Gallagher, an intimate friend of " Auld Lang Syne ; " 
and on July 29th for a benefit for the sufferers from a 
flood, which had occurred in East Baltimore, causing 
much affliction and destitution. 

October 12th, 1868, he began his season at Pittsburg 
as "Major DeBoots" and "Solon Shingle." Eight years 
had elapsed since he played in that city. Listening to 
the prolonged plaudits of the audience, no one could 
realize that aught like animosity had ever existed in that 
city against the comedian whom they thus delighted to 
honor. Mistaken and blinded prejudices, engendered by 
the excitement of the war, had long since passed away, 
and the Pittsburg people now placed Owens in the posi- 
tion he originally held as their favorite comedian. From 
Pittsburg he went to Cincinnati ; and while there pro- 
duced " The Lancashire Lass," appearing in a new rdle — 
"A Painty by the name of Johnson." 

This character was of a different type from those he 
usually essayed, and strongly evinced his illimitable 
histrionic power. The cool villainy and imperturbable 



158 MEMORIES OF 

sangfroid of " The Party by the name of Johnson" and 
the vindictiveness and depth of feeling underlying these 
qualities being thrillingly depicted. The scene where he 
exposes the hypocritical character of Danville was mas- 
terly ; the intense and electrifying tones of his voice, the 
eloquence of his expressive eyes, conduced to culminate 
an effect which produced not only a storm of applause, 
but most frequently a persistent encore. 

I remember at the time he was playing this part, com- 
ments upon the perfection with which he rendered the 
denunciatory scenes, so rife with hatred and desire for 
revenge, called forth a revival of an old report that Mr. 
Owens was originally ambitious of becoming a tragedian. 
The story runs that even his early success in comedy 
failed to eradicate this aspiration; his final cure could 
not be effected until he attempted and failed to play 
Richard the Third. 

This mis-statement has the shadow of foundation. At 
the close of a season in Baltimore Mr. Owens announced, 
among other attractions for his benefit, " the 5th Act of 
Richard the Third" knowing it would be a sensational 
advertisement. As he expected, the house was packed. 
He affected to play the part seriously until full attention 
was gained ; and then gradually burlesqued, increasing 
in fun until the combat scene at the close, for which he 
had provided (and rehearsed with) a basket horse — in 
other words it was a hoax, for he never intended to enact 



JOHN E. OWENS. 159 

the character tragically. The whole thing was arranged 
as a novelty for his benefit — understood by some of the 
audience, and laughed at by all. 

Later on it was repeated elsewhere with the same 
rollicking fun. With his power of pathos, and strong 
well-modulated voice, Owens could have shown in 
tragedy, had he so elected • but he preferred that jollity 
should predominate, and thus developed into a peerless 
comedian. 

After " The Lancashire Lass" was played in Cin- 
cinnati, "Dora " was put on the boards with exquisite 
stage setting. "Farmer Allen " won his deserved position, 
and was thoroughly appreciated. A pleasant week in 
Louisville followed ; from thence to St. Louis, opening 
November 30th at the Olympic Theatre, with Spalding 
and Albaugh. Legitimate comedy was given, in which 
the star was strongly supported by Mr. and Mrs. John W. 
Albaugh. Then came "The Lancashire Lass," well cast. 
Mrs. Albaugh (Miss Mary Mitchell), as Kate Gar stone, 
invested the character with strength and depth which 
could not be excelled. Mr. Albaugh was the author's 
ideal of Robert Redburn. 

Of Mrs. Albaugh's support during this engagement 
nothing was more acceptable than her "Mary Apex" in 
"Self." That part Mr. Owens often found difficult to 
fitly cast. It required a good actress, but one who had 
judgment and taste to avoid the appearance of acting. 



160 MEMORIES OF 

" Mary Apex's " genuine simplicity rendered any seem- 
ing effort utter destruction to the correct impersonation of 
her sweet guilelessness. Mrs. Albaugh brought out all the 
salient points, and yet with delicacy and ease which gave 
to Mary Apex just the gentle nature and firm principle 
that so endeared her to her crusty old god-father — and to 
the audience. Mrs. Albaugh ranked in this part as one 
of the very few whom Mr. Owens pronounced entirely 
satisfactory to him. 

Two weeks in Chicago was the next booking; after 
which followed a short engagement at the Broadway 
Theatre, New York, on the eve of his departure for Cali- 
fornia. Opening January 22d in " Victims " and "Solon 
Shingle" which had been a favorite bill with the New 
York public two years previous, Owens had the grati- 
fication of realizing that its attraction had not decreased. 
A succession of crowded and fashionable houses continued 
through the engagement. 



CHAPTER VII. 

Owens' sea voyage to San Francisco — His appearance at the Cali- 
fornia Theatre — Lawrence Barrett — John McCullough — "Caleb 
PlummeT" and "Grimaldi" prominent successes — Playing in the 
mining towns — Big Jake H — Pleasure tour — The Geysers — Owens 
captivates Foss — Whiskey Spring, No. 1, 2 and 3 — Fritz, the hunter 
— Santa Bosa Valley — Salt Lake City — Courtesy of Elder Claussen 
— Season 1869-70 — Avaricious hotel keeper — " War prices are out 
of date " — Mishap at Vicksburg — " Where's the ale ? " — Eeturn 
to New Orleans — Benefit of W. P. Floyd — Jefferson and Owens 
play — Crowded house — Improvements on farm — A mulberry story 
— Good humored satire and wit. 

F7EBRUARY 12th, 1869, Owens started for Cali- 
* fornia by the Aspinwall and Panama route. He 
was always fond of a sea voyage, and this one proved 
to be especially delightful. From the time of arrival 
at Aspinwall (or Colon, as the inhabitants call it), to 
the hour of entering the harbor of San Francisco by 
the Golden Gate, was an enjoyable experience. Inter- 
mediately, the tropical gorgeousness of the Isthmus of 
Panama, the quaint town itself, the charming exploration 
of Acapulco and other Mexican towns, all combined to 
render the voyage a holiday excursion, rather than busi- 
ness travel. 

11 161 



162 MEMORIES OF 

Subsequent journeys to California (after completion of 
the railroad) were made by that speedier transit ; but, 
though fraught with many advantages, could not compare 
in comfort and enjoyment with the steamer route. The 
latter was often referred to, and dilated upon, by Mr. 
Owens as a red-letter reminiscence. After twenty-three 
days of the pleasurable travel, we arrived on a gloriously 
bright morning at San Francisco — having been met in 
the harbor by Lawrence Barrett and other friends. 

The engagement which he came to fulfil was with 
Barrett and McCullough, at the New California Theatre, 
the first star appearing at that theatre under their man- 
agement. The initial bill, March 15th ("Everybody's 
Friend" and "Solon Shingle"), included the following 
strong cast : 

EVERYBODY'S FRIEND. 

Major DeBoots Mr. John E. Owens. 

Mr. Icebrook Mr. John McCullough. 

Felix Featherley Mr. W. F. Burroughs. 

Mrs. Featherley Miss Emily Melville. 

Mrs. Swandown Miss Fanny Marsh. 

Mrs. DeBoots Mrs. C. R. Saunders. 

SOLON SHINGLE. 

Solon Shingle Mr. John E. Owens. 

Robert Howard Mr. W. Mestayer. 

Charles Otis Mr. W. F. Burroughs. 

John Ellsley Mr. John Wilson. 



JOHN E. OWENS. 163 

Hugh Winslow Me. E. B. Holmes. 

Tripper Mr E. J. Buckley. 

Timid Mr. G. Matthews. 

Clerk of the Court Mr. Edward Marble. 

Judge Mr. S. W. Leach. 

Thompson Mr. F. Robinson. 

John Mr. J. Torrance. 

Mrs. Otis Miss Wetherill. 

Grace Otis Miss K. Lynch. 

(Many other strong casts followed this, notably that 
of "The Poor Gentleman" combining brilliancy of talent 
seldom equalled.) 

CALIFORNIA THEATRE. 
APRIL 15th, 1869. 

THE POOR GENTLEMAN. 

Doctor Ollapod Mr. John E. Owens. 

Lieutenant Worthington Mr. John McCullough. 

Sir Robert Bramble Mr. W. H. Sedley Smith. 

Frederick Bramble Mr. Lawrence Barrett. 

Corporal Foss Mr. Harpy Edwards. 

Humphrey Dobbins Mr. John T. Raymond. 

Sir Charles Cropland Mr. W. F. Burroughs. 

Emily Worthington Miss Emilie Melville. 

Lucretia MacTab Mrs. Judah. 

Mary Harrowby Miss Minnie Walton. 

Owens was received by a crowded house, and cordially 
welcomed. Through his six weeks at the California Thea- 
tre, he continued to win golden opinions, and maintain 



164 MEMOEIES OF 

his exalted position as an artist. He played numerous 
parts with his usual effectiveness ; but of the many en- 
comiums bestowed upon him, those elicited by his "Caleb 
Plummer" and " GrimaldV took precedence in unani- 
mously pronouncing him peerless in these characters. 

Mr. Owens lingered in San Francisco awhile, after his 
professional duties ceased, for he found his surroundings 
very pleasant. In addition to the approbation of the 
public for his histrionic merit, he bad also gained many 
congenial friends. Prominent among these was Lawrence 
Barrett, with whom a friendship, founded on esteem, was 
formed, which grew and strengthened into affection as 
time went on; being mutually cherished and prized. 
To the last of his life Mr. Owens spoke of Barrett with 
admiration, and in the faith of warm regard. 

An offer from Virginia City, Nevada, for twelve nights 
was accepted. The citizens were well pleased with every 
performance, and the comedian found entertainment in 
this town and other mining districts quite equal to that 
which he afforded the public by his dramatic talents. 
The Pacific Slope, and its peculiarities, revealed a new 
experience to him. The country then was exceedingly 
primitive, and daily observation of various types of 
humanity, with whom he met, formed an interesting 
and ofttimes amusing study ; and the grandeur of the 
country — exploring its resources, and gaining information 
thereof, was a matter of delightful investigation to him. 




MR. OWENS as DR. OLLAPOD 
In "The Poor Gentleman." 

(From a Painting by D'Almaine.) 



JOHN E. OWENS. 165 

The theatres in the mining districts were decidedly 
ineligible to the correct production of a play. The resi- 
dent managers deemed but one thing necessary for their 
prosperity — securing a star ; the supporting company, 
and other accessories, they considered of little impor- 
tance. Unacquainted with these local opinions, Owens 
was astonished at a first rehearsal to find the company so 
limited as to render the casting of his pieces impossible. 

Appealing to the manager, he said : " I sent you my 
manuscripts and books, and was assured of full support. 
You know the number of people required ; why are they 
not here?" "No use getting mad about it," replied the 
imperturbable manager. " I didn't read no books or 
things you sent. I knowed we could pick up people 
when we wanted 'em. They'll be on time, you bet ! " 
Determined to reconcile himself to this novel situation, 
Owens viewed it in its amusing originality, and refrained 
from further irritation. The "pick-up" people came, 
and though eccentric in some respects, had the merit of 
good memories and strong voices ; so the first night's 
performance was given to the satisfaction of a jolly crowd. 

The manager had heard some one from San Francisco 
speak of "The Poor Gentleman" having made a hit 
there, and was urgent to have that comedy announced 
for the third night. "It is impossible," was the re- 
sponse. "We can't cast it; our company is too short 
and weak for such a play. And especially, we lack a 



166 MEMORIES OF 

man strong enough for Sir Robert Bramble." " If that's 
all that stands in the way," retorted the manager, " I can 
get the right sort of people." 

While Mr. Owens was smoking his after-dinner cigar 
at the hotel, the manager came up to him, accompanied 
by a six-foot Hercules miner, whom he introduced thus : 
" Here's your i Robert Bramblers/ and " surveying his 
friend with pride, " I'd like to know where you'd find a 

stronger man than big Jake H ! I told you I'd 

fetch the right party." Owens, suppressing a smile at 
this literal acceptation of his objections, received big 
Jake affably ; and entering into conversation with him, 
learned that the stalwart miner had at times been tran- 
siently connected with strolling companies, and was 
still theatrically inclined. 

An appointment was made to meet at the theatre next 
day, from which arrangement resulted the engagement 
of the miner for the part of Sir Robert Bramble. He 
frankly admitted that he had not the " proper fixings " 
to dress in; but he would do the best he could. 
Nothing more dreadful in the way of costume can be 
imagined than what "the best" proved to be. Coarse 
pantaloons stuffed into long rough boots, questionable 
coat and slouched hat were the equipments in which the 
" Baronet of the old school " appeared before the audi- 
ence ; and worse yet, his pronunciation was equally 
startling. The line, " Had I the patience of a Job," 



JOHN E. OWENS. 167 

was given with stentorian force ; but alas ! for miscon- 
ception, it was rendered " had I the patience of a job" 
thus utterly obliterating all analogy with the scriptural 
character noted for endurance. 

Fortunately the audience were good-natured enough 
to be indulgent to this and other inaccuracies, and the 
comedy went off mirthfully. Some of those present were 
unaware of errors; and the cultured portion of the 
audience put up with the inevitable weakness of the cast, 
as they came to the theatre to see the star, and expected 
no enjoyment in addition thereto. 

Concluding his provincial engagements, Owens re- 
mained some weeks longer in California, that he might 
indulge in a pleasure tour : beginning with a flying visit 
to Sacramento and other towns, thence to the Geysers in 
Sonoma County. The stage-coach ride, to the latter 
place, was ever one of the brightest memories of that 
charming holiday jaunt. The novelty of the mode of 
conveyance, the characteristic stage driver "Foss," who 
had attained celebrity in his way, was a revelation ; and 
these specialties, together with sundry incidentals of the 
trip, concentrated more than the usual excitement and 
pleasure in what, to most people, would have been an 
ordinary ride. 

The drive from Calistoga Springs was the customary, 
exhilarating summer-morning bowling over a beautiful 
country — the effect being blithesome, and giving to one 



168 MEMORIES OF 

the " glad I am alive " feeling. The distinctive episode 
of the journey began when the Calistoga stage came to 
its terminus at the house of " Foss," and the passengers 
were transferred to the care of that famous whip. Mr. 
Owens always liked to recall his first meeting with Foss, 
and their subsequent fellowship. 

Standing on the porch, awaiting the summons to lunch 
(the delicious fragrance of its preparation whetting one's 
appetite with promise of good cheer), Mr. Owens was 
contemplating the grand scenery around him; when a 
tall broad-shouldered man passed him, and stopped before 
a state-room trunk, a few steps distant, which he eyed 
with unfavorable glance. Giving it a slight kick, he 
asked in a gruff voice, "What's this?" " Looks like a 
small trunk," said Owens, calmly. "Whose is it?" 
" Mine." " What's it here for?" " Going to the Gey- 
sers." "Oh no! guess not; don't take trunks to the 
Geysers. If you want to put on style, better stay at 
Calistoga Springs — Geysers too rough for frills." " Just 
suits me," said Owens, laughingly, "and I am going 
there; so is that trunk." 

Foss looked searchingly at him, but seeing that no 
offense was meant, weakened in his determination, and 
rejoined : " If I take that trunk, I shall have to put on 
six mustangs, and I intended to drive only four, to-day ! " 
" I have no objection to six ; I am sure you are equal 
to managing a dozen," was the response. Just then lunch 



JOHN E. OWENS. 169 

was announced, and the discussion dropped ; entire atten- 
tion being given to the delicious chicken, rich cream, and 
other dainties, for which Foss* meals were as justly 
famed as for the appetizing manner in which they were 
served at his beautiful cottage. 

When the coach was in readiness and the passengers 
called to take their places, Owens noticed, admiringly, 
the team of six mustangs, and also the fact that the 
objectionable little trunk was safely stowed away, to bear 
him company. As he passed along, Foss inquired : " Do 
you care to ride on the box-seat with me?" "Very 
glad to do so, if I don't inconvenience you," was the 
ready response. " Like to have you ; jump up." Need- 
ing no second bidding for this opportunity to see the 
country to the best advantage, and cultivate further 
acquaintance with the eccentric Foss, he was speedily 
seated ; and off went the team. No reference whatever 
was made to "that trunk." Foss, at first taciturn, 
gradually relaxed, and finally thawed entirely under the 
influence of agreeable conversation. Anecdotes and inci- 
dents were narrated, and the antagonism of the first 
meeting was magnetically dispelled, resolving itself into 
pleasant companionship. 

Owens delighted in the rough-and-tumble ride, the 
magnificent scenery, and the masterly control which this 
wonderful driver held over his horses. Foss quickly 
perceived this admiration of his skill, and was pleased 



170 MEMOEIES OF 

with the appreciation of an accomplishment upon which 
he prided himself. Much of the road to the Geysers 
is steep, narrow and apparently dangerous. While cross- 
that portion of it known as " the Hog's back " (a mere 
ridge overhanging precipices on either side), some of the 
passengers became nervous, and made exclamations of 
fear. Foss, looking over his shoulder, glanced at them, 
and remarked : " No, you wont be upset ; though I 
des'say you felt the motion of the wagon a leetle." Scant 
comfort, when one's breath was nearly jolted out of 
one's body. 

Some one asked : " Has there ever been an accident on 
this road ? " " Not when / drive/' said Foss, " nor with 
my men. A smash-up did happen about a year ago. 
A Sacramento galoot was handling the reins; but that 
fellow wasn't a regular — only a substitute ; he don't 
count. What could you expect from a driver who wore 
gloves and blacked his boots ? Bah ! " and Foss touched 
up his leader with an imperative " g'lang ! " to give vent 
to his feelings. 

As the afternoon lengthened its shadows, the stage 
stopped at a wayside spring to water the horses. Foss 
then tethered them to rest awhile, and signalling Mr. 
Owens, walked away a pace or two, saying as he did so : 
" There is a cooler spring a few steps off, if you'd like to 
refresh yourself." By a turn in the chapparel, they 
quickly reached the place; and from a hidden nook, 



JOHN E. OWENS. 171 

behind the spring, Foss produced a bottle and glasses, 
tersely asking : " Do you ever drink ? " " Sometimes," 
replied Owens. " Well, try that ; the Occidental Hotel 
never set anything better before you." After the recom- 
mendation had been proved true, in the pledging of 
" good health," he remarked : " This is whiskey spring, 
number 1. On the way to the Geysers, there is num- 
ber 2 and number 3, just like it. I don't invite 
anyone here, unless I feel that they are of the right 
stripe." 

Owens was attracted by the mixture of trustfulness 
and reticence, kindly manner and curtness, in the de- 
meanor of this singular man. The remainder of the 
drive was replete with interest. Alighting at the Geyser 
Hotel, Owens unexpectedly met with some acquaintances, 
who immediately set up a shout of welcome. After 
exchanging salutations, he went in-doors to register ; 
and Foss took the opportunity to inquire : " Who is 
that man?" "Why, don't you know him?" replied 

Col. G , of San Francisco, " that is John E. Owens, 

the comedian." "Well," said Foss, "I ain't often 
wrong in taking a man's measure, and this time I hit 
it mighty straight. I froze to him from the first ten 
minutes. I haven't been as well pleased since I drove 
Forrest." And this, by the way, was a superlative com- 
pliment. Forrest was the standard of perfection for 
Foss ; the pride of his life being, that it had been said 



172 MEMORIES OF 

he bore a physical resemblance to the great tragedian, 
whose manner he was ambitious of imitating. 

The sojourn at the Geysers was fraught with such 
enjoyment and content to Owens, that his intended stay 
of two days was prolonged to as many weeks. The 
guests were refined and agreeable people ; and the daily 
life, and its environments, was fascinatingly wild and 
rough, with the charm of novelty. The primitive hotel 
was supplied with delicious fish and game, captured by 
" Fritz," the hunter, and upon his good or ill luck 
depended the dinner hour ; the time varying anywhere 
from two until eight, p. M. If the supplies came in 
early, the guests dined accordingly ; but no one thought 
of being dissatisfied when an improvised lunch was 
served, and dinner delayed indefinitely. 

Of the Geysers as a wonder of nature, everybody is 
now aware. In 1869 it was more difficult of access, 
and excited greater astonishment with its two hundred 
mineral springs, including every variety that can be 
named, and every temperature also ; for side by side are 
boiling springs and icy cold ones, only a few inches 
apart. Exploring the canyons was a never-failing source 
of interest; equestrian parties to the Indian Spring, 
trout-fishing, an occasional bear hunt, for the gentlemen, 
the daily arrival of the stage (including a chat with Foss 
when he was not too grumpy), constituted varied and 
pleasant entertainment from sunrise until sunset. 



JOHX E. OWENS. 173 

The Geyser Hotel of to-day is an imposing building, 
elegantly appointed ; but I doubt if it resounds with as 
much genuine mirth as did the old wooden structure, 
with its canvass walls, whose unconventional guests 
enjoyed to the utmost, the u camping-out style " of living, 
which characterized the place at that time. Leaving the 
Geysers, Owens' route lay through Santa Kosa Valley, 
which gave him further opportunity of stage-coach riding. 
The exhilaration of these new scenes was indescribable ; 
on every side bloomed flowers in rank luxuriousness, 
and orchards of oranges, pomegranates and other fruits 
abounded. Stopping now and again at an inn, to refresh 
man and beast, a lovely panorama met the eye at every turn. 

The name Santa Rosa speaks for itself, but no words 
can describe the roses it denotes. In size, fragrance and 
profusion they are incomparable. All these delights 
were of the long ago, when California was less frequently 
visited by Eastern people. Mr. Owens always liked to 
talk over this episode in his life, and would recount 
many incidents thereof, long after stage-coaches and their 
noted drivers — Foss, Hank Monk, Yuba Bill and others, 
had passed away ; and the railroad rendered the trip to 
California of small moment, instead of the undertaking 
it was considered when much time was required, and 
novelty attended the journey. 

En route home, a stoppage of two days was made at 
Salt Lake City. The honors of the beautiful town 



174 MEMORIES OF 

were courteously extended by Elder Claussen, who acted 
as cicerone to all places of interest. The Tabernacle, 
President Young's house, Masonic Temple, Theatre 
and other buildings were thoroughly shown, with many 
pleasant words of information respecting them. En- 
deavors were made to prevail upon Mr. Owens to play 
a week or two at Salt Lake City • but he declined these 
flattering offers, having already been absent from home 
much longer than he originally intended. 

It was the middle of July when he arrived at " Aig- 
burth Yale/' but he did not feel as if his summer vacation 
only began then. The pleasure tour in California had 
been delightful recreation, and the rural life strongly 
recuperative. 

Shortly after this return home, Mr. Wm. E. Floyd 
came to the farm, partly on a friendly visit, and (as 
afterwards transpired) with a view to effect a plan 
which he thought might not be accomplished by corres- 
pondence. It was to obtain Mr. Owens' consent to play 
a short engagement at Wallack's Theatre, New York, in 
August; "Self" being the comedy suggested. This scheme 
was broached the day after Mr. Floyd's arrival, and at first 
found no favor ; but persuasion and strong inducements 
finally resulted in acceptance of the offer. Supported 
by the full strength of Wallack's company, he began 
his engagement August the 2d, and had every reason to 
be satisfied with its artistic and financial success. 



JOHN E. OWENS. 175 

The season of 1869-70 commenced with a Western 
tour, including Pittsburg, Cincinnati, Indianapolis, Louis- 
ville and St. Louis, during which time good business 
and the full meed of appreciation greeted our comedian. 
Many interesting incidents of the sojourn in these cities 
find place in his diary ; but as they are in the main a 
record of social intercourse, I refrain from giving the 
witty and pleasant jottings, lest in being made public, 
they might be regarded as an infringement on personality. 

A disastrous finale marked the close of the Western 
tour, in St. Louis. The weather there was bitterly cold 
— almost beyond thermometer register ; and Mr. Owens, 
while playing "Caleb Plummer" was so placed on the 
stage as to be exposed to the many draughts for which 
DeBar's theatre was (among other discomforts) renowned. 
The thin dress worn for " Caleb " intensified the ill 
effects; and a heavy cold and severe cough were con- 
tracted. Finding that the exertion of playing increased 
these ailments, he endeavored to cancel the last week 
of his engagement, but the manager declined to release 
him ; so night after night he continued to play, at the 
risk of permanent loss of voice and health. 

His strong will powder enabled him, despite physical 
suffering, to keep up to the degree of his usual perform- 
ance ; but when the engagement was over, this tension 
gave way, he succumbed to illness, and was obliged to 
remain in St. Louis several days, under medical care. 



176 MEMORIES OF 

This inevitable delay fretted him exceedingly, as he was 
due at the Varieties Theatre, New Orleans, November 
2 2d, and naturally desirous to be there in advance, for 
the purpose of thorough rehearsals. The manager, Mr. 
W. R. Floyd, having been informed of Mr, Owens' 
illness, kindly telegraphed him to refrain from uneasiness, 
as the plays would be put in preliminary rehearsal, and all 
would be right. He recuperated rapidly, though still a 
very sick man when he started for New Orleans ; but on 
his arrival there, signified his intention of commencing 
the engagement on time, Mr. Floyd positively refused 
to allow an exertion which might cause not only suffering 
but a relapse to illness — adding : " I have arranged 
stock performances for next week, that you may be 
entirely relieved, and as a friend I insist upon your 
taking care of your health." 

Mr. Owens gladly availed himself of such considerate 
forethought ; and appreciating this regard for his health, 
he could not forbear reflecting that his illness would not 
have occurred had his previous manager been as humane 
as Mr. Floyd. A week under the care of Dr. Chopin 
proved effectual in making a permanent cure. 

November 29th Owens appeared at the Varieties Thea- 
tre, after nine years' absence from that stage — a stage 
associated with his theatrical management (the most 
brilliant ever known in New Orleans) and with some of 
his greatest professional triumphs. In fact "John Owens " 



JOHN E. OWENS. 177 

and "the Varieties" were so inseparable in the minds 
of play-goers that the mention of one suggested the 
other. He had reason to be proud of his reception. 
Despite a pelting rain-storm, the house was crowded in 
every part; and deafening applause, together with up- 
roarious laughter, proved that the comedian had not lost 
the hold upon the habitues of the old " Varieties " which 
he maintained in former years. 

The engagement extended over four weeks, and in- 
cluded many of his most renowned personations. The 
closing week was marked by the production of "Dot" 
— always a favorite play with New Orleans people, who 
inclined to think they had a special right to Owens' 
Caleb Plumnier, as it was on the Varieties' stage he first 
played the part, and won the hearts of all by this dra- 
matic inspiration. 

Opening in Mobile, on the 27th of December, Owens 
gave seven performances to full and fashionable houses. 
From thence to Vicksburg, where he was due January 3d. 
Three railroad accidents en route (though not serious), 
caused detention, and rendered his arrival on time im- 
possible. The longest delay occurred at Meriden, Miss., 
and involved the necessity of remaining over night in 
that uncomfortable locality. The hotel was a barn-like, 
cheerless place, with accomodations even worse than its 
appearance. Poor food badly cooked, unrestful beds, 
broken window-panes and uncleanliness were among the 
12 



178 MEMORIES OF 

discomforts. The only alleviation being that the endur- 
ance of these ills was temporary. 

When Mr. Owens was paying his bill the following 
dialogue took place : " How much do I owe you ? n 
Gazing at the opposite wall, the landlord mumbled, 
" Nine dollars." " What did you say ? " " Nine dollars," 
reiterated the man. " Look me in the face, and tell me 
your charge." Staring up to the ceiling, the fellow 
repeated, " Nine dollars." " Come now, look me in the 
face, and say for what I owe you nine dollars." The 
man ejaculated spasmodically, " Nine dollars — dinner — 
supper and lodging ; " but looked steadily on the floor. 
" Ah, my friend," said Owens, " I see it is impossible for 
you to meet my eye, and make a charge like that for the 
tortures of this hostelry. As you are not entirely lost to 
shame, I have some hope of your reformation. I present 
you with nine dollars, and enlighten you gratuitously. 
The civil conflict is over ; war prices are out of date. You 
don't seem to know that fact. Bye-bye ; I shall remem- 
ber Meriden, and beware of a return to your hospitality." 

The landlord was angry, but bewildered too, not under- 
standing the mock gravity which Mr. Owens maintained 
while speaking. It was one of his peculiarities to 
always extract a " bit of fun " out of not only pleasant, 
but disagreeable surroundings. A keen sense of the 
ludicrous enabled him to find amusement where most 
people would discern only annoyance. These railroad 



JOHN E. OWENS. 179 

detentions were so prolonged that Owens did not arrive 
in Vicksburg until Tuesday, 8.30 P. M. He hurried to 
the Opera House, where a large audience was patiently 
waiting for him. The curtain rose at nine o'clock. Lack 
of rehearsal, the inebriation of the leading man and much 
confusion behind the scenes rendered the performance 
anything but smooth ; and at the fall of the curtain 
the star felt that the evening had been exhaustive both to 
his patience and physical strength. 

The reaction after vexatious excitement and fatigue, 
made him thankful to get back to the hotel for supper 
and a night's rest. An uncouth and stupid boy brought 
supper to the room, and while he was placing it on 
the table, Mr. Owens remarked : " You have forgotten 
the ale I ordered." " Well, so I have,' 7 was the non- 
chalant reply. " Go bring it." " Can't get it this 
late; bar is closed," stolidly spoke the boy; "but," 
brightening up, "you can have it first thing in the 
morning." "Thank you," said Mr. Owens, ironically. 
" Tell you what I'll do," continued the imperturbable 
youth, "I'll bring it to your room myself, at six 
o'clock ! " " No, you won't ; not if you value your life. 
The person who knocks at my door at that early hour 
surely dies," responded Mr. Owens in solemn tones. 
The boy being impervious to a joke, looked puzzled ; 
then, in a frightened way, turned to me, and lowering his 
voice, asked in all seriousness, " What's he mean ? Is he 



180 MEMORIES OF 

crazy?" The question was never answered, except by 
hearty laughter ; and the boy precipitately left the room. 
" It appears/' said Mr. Owens, " my fun comes after the 
play, for an appetizer." 

A thorough rehearsal on Wednesday rendered the 
performance creditable, and the remainder of the week 
was an experience of like nature, to crowded houses. 
Another engagement in Mobile followed, with an entire 
change of plays from those given the previous fortnight. 
Closing in Mobile, he returned to New Orleans for a 
visit of pleasure to enjoy the society of his friends. 

Only one theatrical appearance was made by Mr. Owens 
during this holiday, and that was for the " Benefit of 
W. R. Floyd." A very strong bill was presented — 
" Arrah na Pogue" with Floyd in his famous part 
of " Shaun the Post" Owens in "Solon Shingle," and 
Jefferson in " A Regular Fix." Of course the house was 
crowded. It was not the first time that Jefferson and 
Owens had played in the same bill, or in the same cast. 
Long ago the public had been favored with this double 
attraction in " A Comedy of Errors" " Two Gregories" 
"Wags of Windsor" "Village Lawyer" "Money" and 
other plays. 

I remember the little piece, " To Parents and Guard- 
ians" being given with Mr. Owens as Waddilove, and 
Mr. Jefferson as Tourbillon, a French tutor. The parts 
were not especially strong or important, but they were 



JOHN E. OWENS. 181 

made so by capital acting. Both artists being conscien- 
tious, believed that whatever they did was worth doing 
well. Mr. Jefferson's quaint punctilious picture of the 
old Frenchman was a fine characterization. In the more 
important triumphs of later years, the remembrance of 
this part may not linger with Mr. Jefferson ; but it will 
never be forgotten by those who enjoyed it. 

Mr. Owens was ever an appreciative admirer of Mr. 
Jefferson's genius, and highly prized the life-long friend- 
ship which existed between them. Late in February 
we left the Crescent city, returning home per steamer 
by way of Havana. 

A few days quiet enjoyment on the farm preceded an 
engagement in Washington, commencing March 14th; 
after which he closed his season, that he might have a 
good long vacation at home. Many buildings and other 
improvements were added to his estate during this sum- 
mer. Superintending this work and enjoying the society 
of guests at Aigburth Vale made the time pass pleasantly 
and swiftly. 

One of Mr. Owens' stories of the happenings of this 

summer was in regard to a call he had from Mr. S , 

a theatrical agent, and an old friend. The gentleman 
came out in the York Road car ; sauntering up the 
avenue, he reached the house just as Mr. Owens was 
about stepping into his buggy to drive to the city. After 
salutations, Mr. Owens said : " I haven't time to talk 



182 MEMORIES OF 

business, I am late for an engagement in town now ; 
jump in, we will chat as we go along, and I'll bring you 

back with me." Mr. S declined, and made an 

appointment for later on. Casting his eyes up to a large 
tree, beneath which the horses had been hitched, he 
remarked, " What magnificent mulberries ; I haven't 
seen such large ones since I was a boy." " Go up to the 
house," said Mr. Owens, " and my wife will send one of 
the men to shake the tree, and you can have full enjoy- 
ment of the berries." " No," said Mr. S , " but I 

would like to climb the tree and help myself." " Do so, 
and welcome," cried Mr. Owens, hurriedly jumping into 
the buggy and driving off. 

With agility Mr. S reached the dense branches of 

the tree, and regaled himself plentifully ; but when ready 
to descend, he saw at the base of the tree several dogs 
intently watching him. Here was a perplexing dilemma ! 
It was dangerous for him to come down ; and if he called 
for help he risked being regarded as a marauder, as no 
one had seen him in conversation with the master of the 
place. His only hope was that the dogs would become 
weary and go away, but they were too vigilant for that. 
One or two of them would leave for awhile, but never 
all at a time. 

When Mr. Owens returned from the city (some five 
hours later), as he was walking his horses slowly beneath 
the shade of the mulberry tree, he heard a voice from its 



JOHN E. OWENS. 183 

recesses calling piteously : " Owens, for mercy sake, get 
me out of this ; I'm nearly dead." Looking up, he saw 

Mr. S peering through the foliage with woe-begone 

and fruit-stained face. " Great Scott ! you haven't been 
there ever since I left ! " " Indeed but I have ; and now 
drive away those dogs, and let me come down." 

The " sentinels " were dispersed, and the weary prisoner 
released. An explanation, amidst much laughter, ensued ; 

and Owens insisted on Mr. S going to the house for 

refreshment and rest. The hero of this adventure, seem- 
ingly mindful only of its ludicrous side, gave it extensive 
publicity. Mr. Owens used to tell the story with gusto, 
in his own droll way. 'No one was fonder of a joke, but 
there was never any animus in his raillery. 

When he indulged in satire, wit and humor, so tem- 
pered its edge that however keen it never wounded 
or humiliated. He had a facetious way of replying to 
questions. One day (in Xew York) I heard a gentleman 
ask him about a member of the company : " Where does 

G live now?" and receive the reply, "He thinks 

he lives in Harlem ; but in reality his life is passed in 
the theatre, rehearsing and playing, with the prelude and 
finale of hanging on to a strap in a crowded car, to and 
from Harlem." A friend mentioning some contemptibly 
mean act of a man they both knew, indignantly concluded 
by saying : " He is a hog ! " " Try to be just," said 
Owens ; " the comparison is unfair." " I maintain it is 



184 MEMORIES OF 

not," was the vehement rejoinder. " Oh, yes, it is," per- 
sisted Owens ; " unfair to the hog" 

The season of 1870-71 opened September 19th; and 
from that date until November 26th the tour was under 
the management of George F. Fuller, who furnished 
a competent supporting company. Albany, Buffalo, 
Rochester and other New York cities were included in 
the route, which also extended through Pennsylvania's 
most important towns. This tour was a pleasurable 
success, with no especial event to mark it different from 
its predecessors. 



CHAPTER VIII. 

Effie Ellsler — Inauguration of Terre-Haute Opera House — " The audi- 
ence will wait" — "Owens' Ride "—Theatre Royal, Montreal — 
"John W. Albaugh" — An English gardener — 'Appy h'aspira- 
tions — Globe Theatre, Boston — A graceful souvenir — Letter from 
the author of "The People's Lawyer" — "Fighting Bob" — Country 
vs. City — Napoleon's blankets — Surprising historical data — John 
Unit's second visit to Richmond — Encouraging industry — "A 
man skilled in fence" — Paul Pry — A whilom factotum — " The- 
ay-ters is low" — Masonic Temple — Louisville — Old and new 
friends — " I play this for low." 

T^OVEMBER 28th, 1870, Owens appeared at Wood's 
k Theatre, Cincinnati, then under the management of 
Barney Macauley. After a fortnight there, he proceeded 
to Cleveland to fill a week for which he was booked with 
John Ellsler. It was during the latter engagement that 
the lady cast for Mary Apex was taken suddenly ill, and 
there being no understudy, the withdrawal of "Self" 
seemed inevitable. Fully aware that Owens was averse 
to changing the bill, Mr. Ellsler suggested his little 
daughter for Mary Apex, saying : " She has not ventured 
a speaking part beyond a few lines; but her voice is 
good, and she has a quick memory. If you can rehearse 

185 



186 MEMORIES OF 

the scenes with her, she may possibly get through." 
Owens was quite willing to run the risk. Miss Effie 
(not yet grown) undertook the part with much trepida- 
tion ; but made such a sweet ingenuous Mary Apex as to 
score a triumph. Mr. Owens praised and congratulated 
her at the close of the performance ; and the audience 
had already, by unstinted plaudits, assured her of their 
approval. This was the first mark made by Effie 
Ellsler, in the profession she has since won distinguished 
position. 

While in Cincinnati a flattering offer was received to 
inaugurate the new Opera House in Terre-Haute. He 
hesitated about accepting it, as he was wistfully looking 
towards home, having arranged to give himself two or 
three weeks' vacation at Christmas time. However, he 
finally telegraphed an affirmative for the four nights 
requested. The management offered as an additional 
inducement, relief from rehearsals ; the company engaged 
having recently played as Mr. Owens' support. 

He left Cleveland in ample time to reach Terre-Haute 
Monday afternoon ; but en route detention occurred, 
the road being blocked by the debris from a collision 
of freight trains, in consequence he did not arrive in 
Indianapolis until 7.30, some while after the hour he 
was due in Terre-Haute — seventy-eight miles further 
on. Much annoyed, he gave up all hope of fulfilling 
his promise to inaugurate the new Opera House; but 



. JOHN E. OWEXS. 187 

nevertheless continued his journey, having telegraphed 
the manager about the dilemma. At the first station 
after leaving Indianapolis, a telegram was brought on 
the train to him (a response to his own) which read : 
" The audience will wait for you." At every succeed- 
ing station was received a telegram to the same effect, 
variously worded. The entire ride of seventy-eight 
miles was made while the audience were waiting for 
the star of the evening. Upon arriving at Terre-Haute 
he drove rapidly to the Opera House, and exceeded 
even his own record for quick dressing. The curtain 
arose at eleven o'clock, and when " Major DeBoots" 
stepped on the stage, a deafening shout of welcome 
arose. The whole performance went off with eclat ; 
the Major and Solon being applauded to the echo until 
the fall of the curtain at two o'clock in the morning, 
when the crowd dispersed in jolly good humor. 

Previous to Owens' arrival, telegrams had been read 
to the audience, from time to time, giving information 
that " Owens was within seventv miles of Terre-Haute," 
then " fifty miles," then " thirty-three miles," and so on. 
The entire episode made quite a talk, and was dilated 
on in the various newspapers. A contributor to the 
Cincinnati Enquirer gave a descriptive rhyme of the 
incident — a parody on " Sheridan's Ride " — of which I 
quote a portion : 



188 MEMORIES OF 

" Owens' Ride." 

Up from the ground a magnificent pile 

Of granite and marble and Terra-Haute tile, 

Arose with a grandeur terrific, sublime, 

As if wrought by the touch of a magical mind; 

A Temple where Thespeus sports in his play, 

West of the Capital, seventy-eight miles away. 

Like a herald in haste the news spread away, 
That "Owens" the invincible King of the play, 
Was engaged to be here on opening day, 
And tell unto all what "Solon" would say; 
And the news seemed to strike us all with dismay, 
That "Owens" was seventy-eight miles away. 

i 
The first snow was falling in dreary December, 

When this house of the muses, in all its splendor, 

Was opened to the gaze of admiring legions, 

Who came from the nearest and remotest regions ; 

Well represented was fashion's array, 

To see "Owens" who was seventy-eight miles away. 

The crowd grew impatient, smiles yielded to frowns, 
Nowhere could either of the managers be found ; 
But a man always "Early" with kindness abounding, 
Suggested the play should begin by refunding 
The greenbacks to those who no longer could stay 
To see " Owens" seventy-eight miles away. 

" But stay," said a voice — all was attention — 

"While the contents of a telegram I'll mention." 

There is a road from Indianapolis town, 

A broad-guage railroad leading down ; 

And there, through the flash of a brilliant head-light, 

An engine passed with an eagle's flight. 



JOHN E. OWENS. 189 

As if it knew the terrible need, 

It stretched away with the utmost speed ; 

Bridges came and passed away, 

With "Owens" only thirty-three miles away. 

Under its iron hoof the road, 

Like an angry Wabash river, flowed ; 

And the landscape sped away behind, 

Like an ocean flying before the wind. 

And the engine, with its wild eyes full of fire, 

Is nearing unto our heart's desire ; 

It is snuffing the scent of "Lubin's" spray, 

With " Owens " only fifteen miles away. 

The first thing that (i Owens" did, I think, 

Was to get on the outside of a healthy drink. 

That was done ; what to do next he knew well, 

For the audience set up a terrible yell, 

So he rushed on the stage 'mid a storm of huzzas, 

And checked the wave of impatience, because 

The sight of John Owens compelled it to pause. 

With frost and with snow the engine was gray; 

It seemed most eloquently to say, 

"I have brought you Owens, all the way 

From Indianapolis, to begin the play." 

The ladies now, all impatience forgetting, 
Begin their old habits with lovers coquetting. 
All were well pleased, and expressed it en masse, 
That Owens was there to dispense "apple sass." 
And now, Mr. Owens, " how dew you dew?" 
We hope you will like us as we like you; 
And should you by chance again happen this way, 
Don't begin the play — seventy-eight miles away! 



190 MEMORIES OF 

The exciting success of the first night extended through 
the remaining three performances • and the Opera House 
was prosperously launched on its dramatic career. Leav- 
ing Terre-Haute, Mr. Owens played a week in Louisville, 
then took a rest at home. He resumed his professional 
work January 16th, at the Park Theatre, Brooklyn, 
Mrs. F. B. Conway being manageress — " Victims " and 
"Solon Shingle" for the first week, "Solon Shingle" and 
" The Live Indian" the second week. Snow, sleet, rain 
and bitter cold was the weather record of the fortnight ; 
but inclemency did not seem to interfere with amusement 
seekers, as the theatre was nightly crowded with old 
" Solon's " admirers. 

After closing in Brooklyn, dates of a New England 
tour were filled, with Clifton Tayleure as manager. This 
included all of the eastern cities as far northward as 
Portland, Maine : after which he played a week in 
Baltimore, another in Washington, thence to McVicker's 
Theatre, Chicago. These were, in detail, a recurrence of 
others I have already dwelt upon. From the west Owens 
came direct home, having completed his season 1870-71. 
Scarcely had he begun to be settled in rural pursuits 
when he received an offer to play in Montreal, which he 
decided to accept, and after its fulfilment make a pleasure 
tour up the St. Lawrence, visiting Quebec and other places. 

An additional inducement to draw Mr. Owens to Mon- 
treal was the fact that the Theatre Royal was managed 



JOHN E. OWENS. 191 

for the summer season by Mr. John W. Albaugh, who 
was a favorite and companionable friend. He also played 
the leading business of his theatre, which was an impor- 
tant matter to the comedian, who remembered the able 
support rendered him by Mr. Albaugh in previous 
engagements, prominently so during the season of 1864, 
in New York, where he distinguished himself by polished 
and conscientious work in " Uncle Solon Shingle" " Vic- 
tims " and other plays. 

After the Montreal engagement, and the ensuing 
pleasure trip, Owens returned to the farm; resting and 
enjoying the society of his friends during his vacation. 
In July some changes were made in employees on the 
place, and the position of head gardener was difficult to 
fill. Among the applicants came an Englishman, whose 
language was obscure from the wild and promiscuous 
disposal of the letter h. Not being able to understand 
his name, Mr. Owens (considerately desiring to spare the 
man the embarrassment of a third interrogation) asked, 
"how do you spell your name?" And the reply was 
given thus : "A he — a double hell — a hi — a hess — a ho 
and a hen — ' Ellison.' " Mentally, Mr. Owens decided, 
" if this man's reference is fairly good, I'll engage him. 
I foresee a fund of amusement which I must not lose." 
For the three years that Ellison was employed at Aig- 
burth Vale, he was an inexhaustible source of entertain- 
ment to Mr. Owens — not in the way of ridicule, but as a 



192 MEMORIES OF 

study of character. The white cliffs of Albion were 
suggested by his every utterance; and combined with 
this was stolid wit and shrewd good sense. To hear Mr. 
Owens relate some of their interviews, was as good a bit 
of character-acting as one could have. He liked this 
head gardener personally, for the sterling integrity and 
mental ability which entitled him to general respect. 

The summer weeks flew swiftly by until Mr. Owens 
again returned to theatrical life. This occurred September 
5th, at the Globe Theatre, Boston, Arthur Cheney being 
proprietor, and W. R. Floyd, manager. The ranks of 
the stock company were filled by F. F. Mackey, W. E. 
Sheridan, D. Harkins, H. L. Daly, J. Jennings, Peakes, 
Miss Josie Orton, Miss Ada Gilman, Mrs. Barry, Mrs. 
Hunter and others. Mr. Owens was the first star of the 
season ; he opened in Victims and Forty Winks, and was 
received with overwhelming cordiality. 

" The Heir at Law" " The Rivals " and other comedies 
followed successfully ; but the salient feature of the en- 
gagement was " Grimaldi." It set critical Boston wild 
with admiration, and packed the theatre for six consecutive 
weeks. Owens' personation of Grimaldi was pronounced 
an unexcelled characterization — a carefully studied, yet 
thoroughly natural piece of acting. He graphically 
pictured the old French emigre struggling with want 
and hunger — proud, tender, shrewd, and withal a gentle- 
man. Every intonation of the voice, the raising of the 



JOHN E. OWENS. 193 

eyebrow, the glance of the eye, was perfect ; and in delicate 
shading vitalized " Grrimaldi." Owens had disappeared 
as completely as if swept from the face of the earth ; the 
old Frenchman stood in his place, and bore the audience 
with him through poverty, sorrow, pathetic affection — 
changing with prosperity to the volatility of supreme hap- 
piness. Boston audiences are ever discriminating; and 
they realized that this r6le was worthy of the artist's great 
reputation, and regarded it as a cluster of dramatic jewels. 
It was at this time in Boston that Mr. Owens made 
inquiry relative to the author of " The People's Lawyer." 
The play had never been copyrighted, and in its origi- 
nality widely differed from the "Solon Shingle" which 
Mr. Owens had made famous. Though only indebted 
to the author for the skeleton upon which he had formed 
"Solon Shingle" he desired, in view of his success, to 
tender a complimentary recognition to Dr. Jones. Having 
obtained his address in Boston, he wrote a pleasant letter, 
and enclosed a substantial souvenir. To this he received 
the following acknowledgment : 

"Boston, September 23d, 1871. 
"John E. Owens, Esq: 

"My Dear Sir, — Your favor enclosing a check drawn by you and 
payable to my order, for ' Five hundred dollars,' was duly received. 
'The Souvenir,' so gracefully tendered, I accept with peculiar gratifi- 
cation in consequence of its relation to one of my earliest efforts as a 
dramatist, 'The People's Lawyer,' written nearly two-score years ago. 

13 



194 MEMORIES OF 

"You, sir, have made Solon Shingle famous, prolonged his 
stage-existence, and preserved to this time this relic of the dramatic 
past. 

" My inclination would lead me to thank you, in presence of the 
public, for your novel recognition of my claim to the authorship of 
the drama in which Mr. Shingle was first introduced. I have not 
considered it proper, without your approval, to reply to your note 
through the press. 

"I wish, however, that your gratuitous manifestation should be 
known to all who have interest in the success of plays and players. 

" Let me again repeat my appreciation of the gift, and the generous 
motive that suggested it. 

"Very truly yours, 

"Jos. S. Jones." 

Mr. Owens replied by assuring Dr. Jones how deeply 
he valued such kind sentiments, but positively declined 
to have their correspondence published ; concluding 
to this effect : " The pleasure you express at the 
reception of the souvenir is not one-tenth of that which 
I experience in knowing that I have rendered to your 
gratification. Let that content us. 7 ' This graceful act 
was never mentioned to anyone by Mr. Owens. Whether 
Dr. Jones was equally reticent, I do not know. They 
have both passed into the spirit land, and I do not think 
it amiss now to relate an incident which was creditable to 
both, evincing as it did the best feelings of human nature. 

Owens next played at the Walnut Street Theatre, 
Philadelphia, to excellent business, and afterwards at 
Booth's Theatre, New York — opening November 6th, 



JOHN E. OWENS. 195 

1871, as " Caleb Plummer," in "Dot." That the charac- 
terization met with appreciative welcome, was a foregone 
conclusion. Never had this peerless performance elicited 
warmer praises ; but the cast (though comprising much 
talent) lacked adaptability to the parts assigned, and 
the ensemble was unsatisfactory. Two weeks of Caleb 
Plummer ; and then Victims and Solon Shingle held the 
boards for the same length of time. 

To the details of setting pieces the management gave 
every attention j but nothing could counteract the fact 
that it was not a theatre for comedy. The company had 
been selected for tragedy, and a serious element lingered 
depressingly in the atmosphere. The immensity of the 
theatre was more suitable for declamatory acting than for 
the subtlety of humor, where the play of the features, or 
neatness of action intensifies points. The month at 
Booth's Theatre was chronicled by the press as an artistic 
success ; but this meed of praise, and the large pecuniary 
results were insufficient to reconcile the comedian to the 
solemnity of his surroundings. " It is the home of classic 
tragedy, and unfit for comedy/' said he. "Lotta," who 
was the next star, was similarly impressed. Some of her 
friends described the theatre as so antagonistic to fun as to 
render the merry little sprite entirely out of her element. 

On the 11th of December Owens appeared, as the first 
star of the season, at the Varieties Theatre, New Orleans, 
Lawrence Barrett being manager. During the previous 



196 MEMORIES OF 

year the old theatre had been destroyed by fire, and a 
more magnificent structure reared in its stead. Under 
the supervision of Mr. Barrett the new theatre gave 
evidence of the excellent judgment and refined taste so 
inseparable from that gentleman. The stock company 
was efficient in talent, and full in numbers. 

Mr. Barrett delivered the opening address in a polished 
manner. Then followed "Everybody's Friend" and 
"Solon Shingle;" and the vast audience, already in a 
good humor, became exuberantly mirthful. This bill, 
announced for two nights, was by request continued the 
entire week, thus deferring " The Rivals " until Monday, 
18th inst. Sheridan's witty comedy was strongly cast, 
with Bob Acres as the central light ; and that character 
was played by Owens with dash and spirit. Rollicking 
merriment contrasted forcibly with the abject fear of 
"fighting Bob," when his cowardice became uncon- 
trollable. In every phase artistic, he evoked laughter 
and won unanimous approval. 

On Christmas night " Dot " was produced with Owens 
as " Caleb Plummer" The old toy-maker was ever wel- 
come in New Orleans, but especially at this season of the 
year, from the memory of many other Christmas times 
that he had held the hearts of his auditors. This 
retrospection went back as far as 1860, when Caleb's 
timid tap at John Peerybingle's door was answered by 
the hearty " come in ! " of the carrier. Entering irreso- 



JOHN E. OWENS. 197 

lutely, and meekly responding, "It's only me/' there 
stood old Caleb with his patient manner. As he paused 
inside the door, wistfully gazing at the home circle, he 
was such a pathetic figure — meagre, cold and simply 
humble, that one felt like joining in the cordial greeting 
of Dot and John, that cheerily bid the old man " come 
close to the fire." 

Long before Christmas time many New Orleans people 
would appeal to the manager: "Give us 'Dot'; the 
holidays are incomplete without Caleb Plummer and his 
humanizing tenderness. The play is Christmaslike, and 
every one is better for having heard the cricket's merry 
chirping." 

The New Orleans engagement having terminated, Mr. 
Owens returned home by steamer, via Havana, and 
indulged in a brief respite from professional duties by 
enjoying country life; for since home and farm had 
become synonymes, he had grown to love the country 
at all seasons. He claimed that he had always innately 
had that taste; but I remember a long-ago incident 
when this liking was somewhat modified. 

Before removing from the city to Aigburth Vale, Mr. 
Owens and myself accepted an invitation to visit some 
friends in the country — driving out Sunday morning and 
remaining until next day. The hospitality, cordial wel- 
come and genial conversation that marked this visit was 
exceedingly enjoyable. The winter landscape, beautiful 



198 MEMORIES OF 

with its garment of snow and jewels of prismatic icicles, 
was a novelty to us city people, and greatly admired. 
Indoors the ruddy warmth and cheerful blaze from the 
big open fire-place, with its huge hickory logs, sent a 
glow on the Christmas evergreens and holly which 
decorated the room, making a charming picture. 

The bed-rooms of this home were of cottage style; 
and though exquisitely appointed, not comfortable as the 
wood fires died out. Narrow blankets increased the 
danger of taking cold. In the morning Mr. Owens 
remarked to me, " I fear I have contracted an influenza ; 
if so, I hereafter veto the country in winter time — it is at 
the best in summer, and ought only to be visited then." 

While breakfasting, our friends with attentive solici- 
tude, " hoped that a good night's rest had refreshed us." 
Replying with conventional courtesy, Mr. Owens was 
about to change the topic ; when he was interrupted by 
our host observing : " I will tell you something very 
remarkable about those blankets you slept under. They 
belonged to Napoleon Bonaparte. I have authentic proof 
of this relic ; they came into my possession," &c, &c. 
Of course, we listened with interested attention, and 
made the natural ejaculations of wonder and admiration. 

As we drove to the city in a jaded and sneezing con- 
dition, Mr. Owens suddenly remarked : " I have made 
a discovery which will be valuable to history. The true 
cause of the divorce between Napoleon and Josephine is 



JOHN E. OWENS. 199 

now clear to me — Narrow blankets ! A lifetime of har- 
mony together was impossible ! " 

Owens played in Washington and Baltimore during 
February and March, 1872, with the same pleasant 
results that had heretofore attended his engagements in 
those cities. In addition to his popularity with the 
general public, he had hosts of friends who loved to chat 
with him, and for these he always had a pleasant word, 
and ofttimes a merry story. To chance acquaintances he 
was ever affable; but sometimes his patience became 
sorely tried by a class of individuals who think they 
have a right (unintroduced) to intrude upon the time of 
an actor, even to the interruption of business or his social 
intercourse with personal friends. The usual intro- 
ductory sentence "you don't know me, Mr. Owens," 
was met serenely at most times; but occasionally it 
became unbearable, and merited the reply, " No ; and I 
don't want to know you" — especially if followed by 
prosy reminiscence and many questions. 

One of the penalties of prominence is to be a target 
for bores, who sometimes have more imagination than 
memory. A case in point occurred one day as Owens 
was walking up Baltimore street with a friend. He was 
effusively accosted by a tottering senile individual : " I 
declare if that aint Jack Owens ! I'm real glad to see 
you. I've been away from this city these many years. 
How do you do, Jack?" extending a tremulous hand. 



200 MEMORIES OF 

" Oh, I'm quite well," replied the comedian ; " but I 
don't remember you." " Now, that's hard/ 7 mumbled 
the octogenarian. " /never forgot you. Always would 
go to see Jack Owens play — 'old Jack Owens/ as we 
boys used to call you. Never shall forget the first time 
I saw you. It was in the Baltimore Museum ; my 
nurse took me when I was about six years old, and — " 
"Oh, that was my grandfather you saw/' interrupted 
Owens. " No, no, no," insisted the mendacious bore ; 
" it was you, I remember I — " " It couldn't have been 
my father, for he would be about your own age if he was 
alive — Ta ! ta ! " laughingly rejoined Owens, as he turned 
away and walked off, leaving the retrospective humbug 
uncertain whether he had been snubbed or misunderstood. 
After the engagement in Baltimore, Owens made a 
brief southern tour; commencing in Augusta, Ga., and 
closing in Richmond, Ya. On his arrival in the latter 
city (where he had not played since 1857), a committee 
of leading citizens waited upon him to request that 
he would favor the public with the performance of 
"John Unit" He cheerfully complied, remembering 
with pleasure the long-ago success of "Self" and the 
episode of the snow storm which delayed his first night 
in Richmond. Many of the persons who witnessed it 
then were among the audience of May 10th, 1872. The 
Richmond papers became reminiscent, and printed the 
original cast and criticisms. After the curtain fell on 



JOHN E. OWENS. 201 

"Self" Mr. Owens received warm congratulations on his 
success, and ultra perfection as John Unit. Strenuous 
efforts were made to induce him to prolong his engage- 
ment; but to these flattering appeals he was unable to 
respond affirmatively, though tendering his regrets at his 
inability to do so. The warm days had prematurely 
commenced in springtime, and Mr. Owens was desirous 
of entering upon his summer vacation at home. 

I don't know whether, on this occasion, it was rest 
he was impatient to attain, as the fact that he had in 
prospect sundry improvements on the farm, in the way 
of fencing, ditching, &c, which he was eager to set going. 
Nothing delighted him more than to have the place 
pervaded with laborers ; and to give occupation to those 
who asked for it was his constant rule. The invariable 
direction to his farm manager being : " Never refuse an 
application for employment. Don't turn a man away ; 
make work for him." On one occasion he had a long 
line of fence moved a few feet back, and six months 
later returned to its original position. I always believed 
it was done for the sole purpose of giving employment 

to Tom B , who by the way, was a favorite with 

Mr. Owens. He often said, that Diogenes' lantern- 
hunt for an honest man would have come to a speedy 
termination had he met B . 

Away from home once, Mr. Owens had occasion to 
write to B — , relative to some fencing ; and as many 



202 MEMOKIES OF 

of the same name lived in Baltimore County, he was 
puzzled about directing the letter so as to insure its being 
received. Jocosely, he said : " I'll indicate him by a 

quotation ; " and wrote " Thomas B , ' a man skilled 

in fence.' " The letter was delivered to the right man ; 

though B was serenely unconscious of the witty 

address. 

Having enjoyed a delightful summer at home, Owens 
began his next season in Brooklyn at the Park Theatre, 
September 2d, 1872. During the vacation he had or- 
ganized a company to support him in a starring tour of 
thirty-seven weeks ; playing in one hundred and thirty- 
seven towns. The perfection of this undertaking was 
then a laborious task ; for it was in the early days of 
such continuous travel, and unattended with the present 
facilities. The result, however, was eminently satis- 
factory. A well selected company of marked ability 
rendered the various plays admirably. The leading 
lady, Mrs. John T. Raymond (known professionally as 
" Marie Gordon "), proved an immense favorite every- 
where. After a fortnight in Brooklyn, the cities of 
Albany, Utica, and others in New York state came in 
rotation; from thence a tour of the western towns en 
route for Cincinnati. There at Pike's Opera House 
he played the most brilliant engagement of his many 
great ones in the Queen city. The Heir at Law, Poor 
Gentleman, The Rivals, Sweethearts and Wives and other 




MR. OWENS as PAUL PRY. 



JOHN E. OWENS. 203 

popular comedies from his extensive repertoire filled the 
time with varied attractions; and the public rendered 
hearty tribute to his versatility. 

By especial request he played " Paul Pry" that having 
been a favorite during his early engagements in Cincin- 
nati. Owens was regarded as one of the best Paul Prys. 
He gave a piquant delineation of that eccentric character, 
rendering the full quota of dry humor without the 
slightest shade of buffoonery. The play of features, so 
expressive, testified his marvellous mobility of counten- 
ance — his magnetic eye-power was wonderful ; and the 
artistic judgment with which he used these gifts, rendered 
the effect charmingly natural. His laugh was so hearty 
and genuine that it was echoed by all who heard it. 
The blunders unwittingly committed by Paul Pry were 
intensified in ludicrousness by the surprise he evinced 
at the resentment of those for whom he persisted "he 
was doing a kind act." No description can do justice 
to Owens' portrayal of this character, or to the manner 
in which he vividly brought out the idea of the play, 
that Paul Pry was not the mar-plot of the piece but 
rather the ma&e-plot ; for on his meddling hinges the 
working out of events. 

While in Cincinnati, going to rehearsal one morning, the 
comedian encountered a brisk little man, who greeted him 
with the stereotyped salutation, "You don't remember 
me, Mr. Owens?" Scarcely waiting for response, he 



204 MEMORIES OF 

continued, " I was in your company when you managed 
the Charles Street Theatre, Baltimore. Don't you recol- 
lect when we made that big hit with the ( Comedy of 

Errors ? ' I played the officer." " Oh, it's C » said 

Owens, laughing; for he at last recognized a whilom 
factotum who, on the occasion referred to, had been 
entrusted with one line to speak. Breaking down hope- 
lessly the first night, a tap on the shoulder was thereafter 
substituted for the few words (and that was how we made 

the hit). "Well, C ," inquired Mr. Owens, "at 

which of the theatres are you now ? " " Oh, I've cut 
the the-ay-ters," disdainfully replied the youth, "I am 
in the book business ; that is our establishment, across 
the street." 

The large and handsome store indicated betokened 

wealth incompatible with C 's costume. Making a 

margin for eccentricity, Owens congratulated his former 
employe on this rapid advancement in prosperity. " Yes, 
indeed, Mr. Owens, I am indeed much better off; I'm 
doing fust rate. The-ay-ters are low, except for stars 
like you. Well, good-by, sir, I have to be on the 
Hamilton & Dayton train by schedule time, and I've got 
to call for my books, peanuts and other things." The 
train-boy hurried away, all unconscious of the amusement 
he had afforded Mr. Owens by the denouement of his 
real occupation, so entirely at variance with his assump- 
tion of mercantile importance. 



JOHN E. OWENS. 205 

From Cincinnati Owens went to Lexington for two 
nights, thence to Louisville; and in the latter city he 
played at the Masonic Temple, the large auditorium 
being crowded all the week. He was the recipient of 
much complimentary congratulation, both from his old 
friends and from strangers; the latter often using the 
mail only, as a medium to convey expression of their 
commendation. Among the many letters received from 
unknown admirers was an eminently piquant one, whose 
envelope bore the following doggerel address : 

"To Mr. Solon Shingle, 

A dealer in Produce; 
'Tis apple sass, he calls it 

(That's apples biled in juice). 
His alias, 'John E. Owen] 

An actor rare, all know. 
He plays De Boots and Solon, 

And I play — this for low ! 
Please leave this at the Temple, 

Where Masons congregate, 
In Louisville (Fall city), 

In old Kentucky State." 



CHAPTER IX. 

Bleak weather — Weighing Baggage — Comic sequence — " Where's your 
brass band?" — A boy's guileless letter — Two winters in nine 
months — Illness and death of the Hon. Frederick Pinkney — The 
bond of masonry — A colored brother — An "interrogated" leg — 
Season of 1873-74 — Arch Street Theatre, Philadelphia — " Joshua 
Butterby" Presentation Scene — A French valet — A patent boot-jack 
— "Timothy Toodles" — The big chandelier — Mobile — Disaster en 
route to Selma — Stranded in Greenville, Ala. — A gentle Alsacian 
priest — Journeying in an ox-cart — Montgomery — "A committee 
(?) of one " — A recreative fortnight in the Crescent city. 

n FTER Louisville the tour was westward, and be- 
came fraught with much fatiguing travel. The 
weather was unusually severe, even for that inclement 
locality. Heavy snow-storms often prolonged the jour- 
neys; and though Mr. Owens endeavored by frequent 
use of special trains, and in many, other ways, to insure 
the comfort of his combination, it was impossible to 
entirely obviate great fatigue. His sturdy health and 
buoyant nature rendered him equal to emergencies, 
and many a jest and laugh arose from taking a mishap 
in its ludicrous aspect. The flagging spirits of the 
company revived to a pleasant degree ; and at night, 
206 



JOHN E. OWENS. 207 

before a brilliant audience, they forgot the discomforts 
of travel. 

Snow-bound trains made many delays. The afternoon 

before Christmas the combination, overdue at B , 

arrived just as the official in charge of the baggage-room 
was preparing to leave the station. Hurriedly approach- 
ing him, Owens said : " Please check my baggage quickly 
as possible ; it is important for me to make connection to 
Milwaukee." Gruffly inquiring " Where is it?" the 
baggage master had the stack of over fifty trunks pointed 
out to him, with the information that "it was the 
( Owens Combination ' luggage." " You'll have to pay 
extra baggage," snarled the man. "I don't think so, 
because — " began Owens, mildly. " Tell you, yes ; tell 
you that baggage is far over weight." " But," suggested 
Owens, " if you will listen to — " " No, I won't listen. 
Aint here to listen to nonsense. I'll weigh that baggage." 
" You are giving yourself needless trouble, I can show 
you — " " Don't want you to show me anything ; " and 
the official savagely began to wrestle with the trunks, 
throwing them one by one viciously on the scales. 
"Well, if you insist on fatiguing yourself, I'll leave 
you," said Owens, retiring to the waiting-room. 

After having remained there awhile, and becoming 
partially thawed, he returned to the scene of baggage 
weighing ; and again endeavored to expostulate on the 
subject, but could not obtain a hearing. When the last 



208 MEMORIES OF 

trunk was crashed down, the official made a memo- 
randum of the aggregate weight, and calling to Mr. 
Owens, said: "Now, I'll talk to you; you owe $38.98 
for extra baggage. Got anything to say, eh ? " " Yes, 
I have ; and I wish you had permitted me to say it 
sooner. This," handing him a note, "is an order from 
the Superintendent of the road, to pass all of my baggage 
free of extra charge." 

Inspecting the document, and finding it genuine, the 
man became voluble in expletives ; and indignantly de- 
manded, " Why didn't you tell me you had this paper ? " 
" Because you wouldn't allow me to speak," was the 
reply, in a comically meek voice. A sense of his self- 
inflicted labor seemed to impress the baggage master as 
rather a grim joke. After a pause, he broke into a 
laugh, and said : " It's a big sell ; you come out ahead. 
Good night." 

The snow continued to fall, and all trains being 
belated, there was no prospect of reaching the next 
town for performance. Hope was now limited to arriv- 
ing there, in time to secure a night's rest. 

At nine p. m. the officials returned to the station to 
be on duty, in event of arrival of trains ; though the 
violence of the storm rendered that occurrence improba- 
ble. At midnight, the baggage master, whose incipient 
dislike to Owens had changed to reverse feeling, came to 
him, saying : " There will be no travel to-night ; I want 



JOHN E. OWENS. 209 

you to come up to my house ; I can make you comfort- 
able, and it will give me pleasure to do so." 

Thanking him cordially, Mr. Owens declined the 
proffered hospitality, preferring to remain with his com- 
pany in this mishap of travel — -a most disagreeable 
experience it was, as they passed the entire night in the 
dreary waiting room. On every subsequent tour, when 
a change was made at this station, the baggage master 
would facetiously salute Owens with the query : " Any 
extra baggage to be weighed to-day? I am not in as 
great a hurry to get home as I was on Christmas eve," 
&c, &c. It was a chronic joke between them ; and the 
acquaintance, which began in a wrangle, was afterwards 
fraught with many a pleasant encounter. 

The westward travel continued as far as Omaha, and 
despite some personal discomfort, was satisfactory. In 
the small towns at this time the advent of a promi- 
nent theatrical star was a novelty which was variously 
responded to ; appreciatively by some, whilst others, 
accustomed only to a circus, stereopticon, or moral lec- 
ture, were puzzled as to the nature of the coming enter- 
tainment. Numerous and diverse were the interrogations, 
but none more absurd than that propounded to one of 
the ladies of the company. As she was leaving the 
dining room, the landlord's wife intercepted her, and 
the following dialogue ensued : "I am going to the 
show to-night ; what feats does you perform ? I should 
14 



210 MEMORIES OF 

say you was rayther stout to jump through hoops, and 
just a leetle too old." " Think so?" "Yes, I guess 
you hev to take a back seat and let the youngsters 
do them tricks now?" "Oh, no, it is as easy to me 
as when I was younger. Couldn't go through hoops 
and over ribbons a bit better then." " Well, well, I 
shouldn't 'a thought it; I mean to see you to-night 
for certain." "I hope you will be pleased," was the 
merry rejoinder. 

At one of the hotels a citizen, who was lounging in 
the office, inquired : " Mister, do you belong to the show 
that's just got here ? " " No," said Owens, " the show 
belongs to me." " Well, where's your horses ; where's 
your brass band ? " Eyeing the man quizzically, the 
comedian remarked : " This is not a circus, my friend, and 
there is nothing brazen about the company ; as for my- 
self I pose as the most modest individual and rely upon 
the public to discern my merit." Chaffing seemed to 
irritate the questioner, as he rejoinded : " I don't know 
what stuff you are talking, but I can tell you we expect 
a brass band ; no show catches on in this town without 
it; make no mistake, mister." The auditorium at night 
proved the individual a false prophet. Retracing the 
route from Omaha, Owens played in Kansas City and 
other towns until he arrived at St. Louis, where he 
opened at De Bar's Theatre, January 20th, 1873. The 
seven performances here were eminently satisfactory, 



JOHN E. OWENS. 211 

which was peculiarly gratifying in view of the unpro- 
pitious weather — cold, sleet, and snow prevailing. 

The day before we left St. Louis, Mr. Owens received 
a letter, the superscription of which was in a boyish 
hand-writing. It contained a small photograph of a 
handsome lad and these lines : 

"Dear Mr. Owens,— 

"I want you to see a boy you have made happy. Father says 

I'd be a bother to you if I went to the hotel; so I send my 

picture, and tell you I've seen you play ever so often. I laughed 

and laughed — why, I just hollered. Now, Mr. Owens, some time 

when I'm bigger — I'm going on twelve now — will you give me 

your picture? I'd be so glad to get it. No more at present from 

Andrew L , 

"who lives at No. — Olive St." 

The naivete and earnestness of the boy was charming. 
I don't know when Mr. Owens was more pleased with a 
letter. His photograph and a few genial words were 
speedily sent in response. 

After six nights at Memphis, Tenn., Owens proceeded 
to New Orleans, where he appeared at the Varieties 
Theatre, February 3d, as "Major DeBoots" and "Solon 
Shingle" The transition from the rigor of winter 
(endured for so many weeks) to this genial climate was 
delightful ; and the entire fortnight was an epitome of 
pleasant hours to the comedian, his personal friends and 
many admirers. Until March the time was filled with 



212 MEMORIES OF 

southern travel from Mobile to Kichmond. The tour 
then extended through the states of Pennsylvania and 
New York ; thence playing the New England circuit 
as far north as Portland and Bangor, Maine. 

Mr. Owens always inspected the setting of the stage 
before the curtain went up, so as to be sure that the 
properties, &c, were in place. In one of the small 
eastern towns, after the customary precaution, he called 
to a friend who was standing at the wing : " Come 
here ; I have something to tell you. This theatre is 
remarkable; the management intends to make a horse 
piece of Solon Shingle. I have played old Solon many 
hundred times, and under various circumstances ; but I 
never thought the part would lead me to the equestrian 
drama ! " " What do you mean ? " asked the puzzled 
listener. Crossing over to the witness-box, Owens threw 
up the drapery, and disclosed a wooden clothes-horse 
which had been utilized to improvise the witness-stand. 
" There, look at the fiery steed ! Doesn't it suggest the 
circus ring and the odor of sawdust ?" They both 
laughed at the " sell," and Owens rejoined, " The entire 
vamped set is so outrageously dismal, that I either had 
to fly into a rage, or make a joke ; and I chose the latter 
alternative, even though I had but feeble foundation." 

The route recently spoken of brought to Owens and 
his company the singular experience of two winters in 
nine months, with a summer intervening. In January 



JOHN E. OWENS. 213 

they left the western cities, where the extreme cold tested 
the limit of thermometers ; proceeding southward, they 
basked in summer temperature for two months, and then 
journeyed northward to Maine, where winter reigned 
supreme — no vehicles but sleighs being available. Later 
on, in the state of New York, this season drew to a close. 
The last performance was given in Troy, terminating a 
tour of thirty-six weeks. 

An abridgment of one week was caused by illness at 
Aigburth Yale — illness unto death of Mr. Frederick 
Pinkney, a near and dear friend who was visiting there. 
When we were apprised by telegram that Mr. Pinkney's 
case was hopeless, and liable at any moment to terminate 
fatally, Mr. Owens arranged to close the season, and 
speedily return home. So desperate was this illness 
that he feared Mr. Pinkney might not survive many 
hours. Fortunately he rallied, and was sufficiently 
conscious to affectionately recognize Mr. Owens on his 
arrival. 

He continued to fluctuate in strength, sometimes equal 
to conversing, but often oblivious of those around. It 
was a mournful satisfaction for Mr. Owens to be near 
him for the three weeks of his survival ; at the end of 
which time he passed away, surrounded by his devoted 
family and friends. 

Frederick Pinkney held so prominent and exalted a 
position in life, that not only was he mourned by his 



214 MEMORIES OF 

bereaved family, but his death was an irreparable loss to 
his own city. He was one of Maryland's representative 
men. A son of the Hon. William Pinkney, the illus- 
trious statesman ; he had inherited his father's acute and 
comprehensive intellect, and early distinguished himself 
in legal lore. Being of a retiring nature, he did not 
share the ambition of his father for public life, but con- 
fined himself to the practice of law, in addition to the 
office he held as Deputy State's Attorney. 

His scholarly attainment in all branches of science 
was great, his erudition unsurpassed ; as a poet, he was 
unusually gifted. But beyond wisdom, learning and 
talent, he left even a more precious heritage of remem- 
brance to his family in the record of his personal char- 
acter, which was manly, pure and unimpeachable. The 
devoted affection of his domestic life was equal in force 
to the acumen evinced with sagacious jurisdiction in 
discharge of his public duties. 

Mr. Owens passed the remainder of the summer at 
Aigburth Vale. His presence at home was always a 
delight, not only to his family, but most welcome to 
those employed on the farm. They were pleased by the 
interest he manifested in the work which had been done 
during his absence ; and the fact that he listened to every 
detail, increased their satisfaction. Moreover, from the 
farm manager down to the herding boy each held the 
firm belief that "the master" cared for their personal 



JOHN E. OWENS. 215 

joys and sorrows ; and they came to him for advice, sure 
of ready sympathy and (if needed) assistance. 

A marked trait in his nature was consideration 
for the feelings of his inferiors. I remember one day 
when he had been in the city since early morn; as he 
drove up to the house one of the farm hands met him 
when he alighted from the carriage and said : " Oh, Mr. 
Owens, I'm thankful you've gotten back. Please come 
to see my boy Dave, and tell me what to do for him. 
He has had a fall, and I'm afeared his leg is interrogated. 
I've rubbed it with merriment, but it's no good — he cries 
all the time." Some one standing by broke into laughter 
at these malapropisms. Mr. Owens rebuked this sharply, 
adding : " There's nothing amusing in a man's distress, 
or the boy having dislocated his leg. Go for a doctor 
instead of grinning over suffering." Then turning to 
the anxious father, he said : " Come, we will go to Dave 
and stay with him till the doctor arrives." 

There was an old colored man on the farm who had 
been a servant in our family for many years. He was 
devoted to Mr. Owens, not only for the kindness he 
received, but under the fancied impression that the bond 
of free masonry existed between them ; the latter delusion 
Mr. Owens encouraged, because it amused him to hear 
Luther talk, and gratified the old man to know that 
he could come to " Marse John " with his troubles and 
ask advice. I have heard him say to the other farm 



216 MEMORIES OF 

people : " We just passes the signs and ' Marse John y 
knows almost before I axes what I wants. Dat's de 
good of being brudder masons. " 

The old fellow, years before, had a legacy of a piece 
of land with a little house on it ; but his title was dis- 
puted by the heirs-at-law, and litigation ensued. The 
dignity of "a lawsuit" was a matter of great pride to 
him, and rendered him somewhat important with his 
associates ; but still he was anxious to come in possession 
of his land. Mr. Owens tried to arrange matters for 
him, but "the law's delays" seemed insurmountable. 
One day he came from town (where he had asked per- 
mission to go " to look after my lawsuit "), and, radiant 
with delight, he sought Mr. Owens, exclaiming : " Marse 
John, I've seed my lawyer, and sure as you is bawn he'll 
fix things for me now." 

"Tell me all about it, Luther." "Well, sah, I 

went to Lawyer B 's office ; thar' was a gemlan 

thar' with him ; and he 'sensed hisself so as to talk 
to me, cos he knowed I had to ketch a car. Then 
he talked to me ; same old story ; wot e he wos sorry, but 
my case would have to be put off agin.' I just said, 
werry respectful but werry positive : e It's done been put 
off too many times a'ready ; if there aint something done 
soon I'll fling de papers among de jury.' I tell you he 
was skeered ! He got werry red in de face, and made 
believe to laugh. The other gemlan come over to him 



JOHN E. OWENS. 217 

and says : ' For mercy sake, B -, hurry up that case ; 

if the old man does what he says he will the court will 
be broken up ! then what's to become of the country ? ■ 
Yes, Marse John, I skeered 'em awful, and they das' sent 
keep me out of my rights now." 

"Marse John" had almost as much difficulty to control 
his amusement as had the lawyer, but took care not to 
wound Luther's feelings by rendering it perceptible. He 
gave him words of good cheer, but cautioned him not to 
be too hopeful of settlement. 

When the summer rest of 1873 was over, Owens 
resumed his professional work, supported by his own 
company ; opening at the Arch Street Theatre, Phila- 
delphia, in " Victims" and "Solon Shingle." The delicious 
humor of the comedian was never more thoroughly 
enjoyed. To render Joshua Butterby and Solon Shingle 
salient creations, could only be possible with a man of 
absolute genius. In less competent hands, Butterby 
might have degenerated into buffoonery. To elaborate 
the coxcomb's peculiarities, and present the character 
with all its unconscious idiosyncrasies, was a triumph of 
art. The presentation to Minerva Crane was one of the 
best comic situations ever seen, and ably handled ; or in 
other words, " Owens was Butterby throughout the entire 
play." 

Possibly, but few reflected how much had been 
achieved in making " Victims " a success. The comedy 



218 MEMORIES OF 

was produced by others with strong casts, in various 
cities, but never attained prominence. " Butterby " was 
not considered the star part, and when Mr. Owens 
assumed it as such, much wonderment was expressed ; 
but this surprise merged into admiration, when he made 
it so brilliant a feature as to insure success for a comedy 
which had hitherto been a comparative failure in this 
country. Thenceforth "Victims" was incorporated with 
his repertoire, and gradually became associated with his 
name solely. 

"Everybody's Friend" and "Forty Winks" filled the 
second week at the Arch Street Theatre, except one night 
when the "Poor Gentleman" was given by particular 
request, and Doctor Ollapod was personated with the usual 
dashing manner and delicious humor of the comedian. 

The day Mr. Owens arrived in Philadelphia, he was 
importuned by a shabby-genteel Frenchman for employ- 
ment as valet or stage dresser. The applicant received the 
reply : " I can't give you either position. I couldn't be 
bothered with a valet, and my wife is always my dresser j 
but I'll see if I can place you elsewhere." The man spoke 
his native language with pure accent, and seemed to be 
well educated. He was enrolled as factotum ; but the only 
perceptible use he appeared to be, was to give Mr. Owens 
practice in the French language — it being understood 
that all communications between them should be thus 
spoken. Mr. Owens suggested that it would be well for 




MR. OWENS as JOSHUA BUTTERBY 
In "Victims." 



JOHN E. OWENS. 219 

me to instruct this man in regard to costumes, &c., so 
that he could be utilized in event of my absence through 
sickness, or other contingency. 

At the close of the week I was called home to remain 

over Sunday. Having thoroughly drilled De R 

about the dress and properties for "Butterby" and 
"Solon" I hoped that all would be right. Returning on 
Monday, I went direct to the theatre to arrange costumes 
for change of bill. I found the Frenchman in the dress- 
ing-room, and asked : " Did you have everything right 
Saturday evening ?" " Parfaitement, Madame. True, 
I forget to give Monsieur ze spectacle for So-lon ; but of 
himself he remember, before ze entrez, and did return for 
zem. Not, Madame, dat ze leetle zing like unto such trifle 
would make difPerance to so great actor. He would say 
somesing to turn him off." I could not repress a smile at 
this blissful ignorance of the importance of properties 
evolving the action of the play. I quietly remarked : 
" You are right ; he would have said something ,? — men- 
tally adding, " something that would have startled you." 

As weeks rolled on the factotum grew to be such an 
ardent admirer of Mr. Owens' acting that he hung about 
the wings of the stage and was a chronic hindrance to 
everyone behind the scenes ; he, moreover, became stage- 
struck, purchased play-books, and grew absorbed in them 
to the exclusion of all occupation. Worse yet, he took 
to drink, and assigned as an excuse that " he didn't care 



220 MEMORIES OF 

to live if he couldn't be an actor." After much patient 
endurance he was discharged. 

A few days afterwards a package was received, and 

with it a note from De B, , the latter written in 

broken English, and of the wildest tenor. Depths of 
grief to begin with ; followed by a request for the loan of 
five dollars, to take him to his dying son ; followed up with 
the matter-of-fact statement : " I present to you a patent 
boot-jack ; in ze future I will explain him. P. S. — I wait 
below for ze money, and ze train leave in an hour." 

For a moment after reading this effusion Mr. Owens 
hesitated between anger and amusement, but finally laughed 
at the absurdity and sangfroid of the writer, saying : " I 
think the fellow is either crazy or a fraud ; but I may as 
well give him the money ; perhaps he really has a dying 

son." So he went down stairs and sent De R to the 

alleged train, and no more was ever heard of him. 

After the conclusion of the engagement in Philadel- 
phia, two prosperous weeks were filled at Pike's Opera 
House, Cincinnati, with " The Heir at Law," " The 
Poor Gentleman" " Siveethearts and Wives," and other 
comedies, together with " Solon Shingle " and several 
farces. Among the latter " Toodles " was in great favor. 
In the character of " Timothy Toodles " Owens was sui 
generis. Long ago he had received the high commen- 
dation of comparing favorably with William E. Burton 
(who was the original Toodles in this country). Avoid- 



JOHN E. OWENS. 221 

ing the broadness which marred the effect of that great 
actor's rendition of the part, he adhered to his own concep- 
tion. His drunken scene was original, and excruciatingly 
funny, but devoid of coarseness. With the finest instinct 
for humor, he never permitted anything coarse or vulgar to 
find place in language or situations of the parts he played. 
Returning to Baltimore, he appeared at Ford's Grand 
Opera House for a week, thence to Washington, dupli- 
cating the performances and success; after which he 
made a tour through the State of New York. In the 
cities business was excellent, and audiences appreciative ; 
but in the smaller towns the houses were not uniformly 
good. In one of these places (where expectations of 
manager and star were unfulfilled) the weather was dis- 
mally rainy, the hotel unbearable ; aggregating a feeling 
of general dissatisfaction. Mr. Owens, while changing 
to his street costume, said : " Well, it is a one-night 
stand, let it go and be forgotten." He never dwelt on 
disagreeable matters, and did not like to have them dis- 
cussed. As we were quitting the theatre his agent came 

forward to meet him, saying : " Mr. H , a prominent 

citizen of this town, requests to be introduced to you." 
I knew that Mr. Owens was not in a mood for conver- 
sation ; but the gentleman had advanced, and the inevi- 
table introduction took place. Of course, Mr. Owens 
(though annoyed) was polite ; but the coolness of his 
courtesy increased as, with mistaken zeal, Mr. H 



222 MEMORIES OF 

indulged in stupid retrospection and fulsome praise of 
the comedian's acting, adding that " he himself once had 
an idea of going on the stage." By and by Mr. Owens 
began to extract amusement from the interview, and 
became sarcastic in a humorous way. Utterly uncon- 
scious of the shafts aimed against him, Mr. H con- 
tinued his meandering remarks, verging into regrets that 
the house had not been crowded, and lamenting that the 
engagement had occurred at such an inauspicious time. 

" Ah ! I begin to understand," said Owens, " Mr. 
Brown raffles a turkey to-night?" "Oh, no," was the 
eager response. "Well, then, Mrs. Robinson gives a 
party ; I am sure there must be some counter-attraction 
in town." "That's just it," innocently rejoined Mr. 
H . " Local election excitement ; that is what inter- 
feres with amusement, but please don't give us the go by ; 
try us another time." This imperturbable earnestness of 
manner quite conquered the irritability of the comedian ; 
he merged into a genial mood, and made himself so 
agreeable that the interview terminated pleasantly. 

A successful fortnight at the Park Theatre, Brooklyn, 
was followed by a tour westward through Ohio, Indiana 
and Illinois, arriving in Chicago for an engagement 
beginning January 18th, during which time he pre- 
sented many of his famous characters. All were appre- 
ciated, but none received greater praise than his portrayal 
of " Caleb Plummer." In Chicago, as elsewhere, this 



JOHN E. OWENS. 223 

was a favorite part, and so closely associated with Owens, 
that in its consistency and fidelity to nature, he was 
recognized as peerless and inimitable. Through Wis- 
consin, Minnesota and Kentucky, the principal towns 
were visited, and though the travel proved tiresome at 
times, it had its bright side of pleasant happenings, and 
good business results. Inevitable discomforts are easily 
borne, when one has a light heart and good health ; and 
the happy faculty of brightening the tedium by a good 
laugh at amusing or absurd occurrences of daily life. 

Arriving at midnight in one of the towns, Owens had 
the gratification of finding that the small hotel was, at 
least, clean and neat. Next morning, he went out for 
a drive, the surrounding country being picturesque and 
beautiful. Before leaving the hotel, instructions were 
given to have the room put in order during his absence. 
At one P. M. he returned, much exhilarated by the drive, 
and proceeded to his room to write important letters, but 
found the place still in disorder. Having no bell, the only 
resource was a loud call for the chambermaid, who lazily 
sauntered down the hall, inquiring, " wot's up ? " 

When the situation was explained to her, she rejoined : 
a Oh, that's the fuss. Well, I'll do the room after 
awhile." " But," remonstrated Mr. Owens, " the day is 
half gone ; I wish to write, and I can't sit down in such 
disorder!" This appeal was met by a burst of tears, 
with loud wailing and, between sobs, ejaculations of: 



224 MEMORIES OF 

"I can't a-bear to be scolded: I ain't used to work. 
My pah, he got burnt out, or I shouldn't be here now. 
I ain't no common chambermaid." " I believe you ; 
you are a very uncommon one," and sotto voce, "I 
hope there are none like you." " Don't cry any more." 
Suddenly drying her tears, she said : " Say, Mister, now 
you're talking straight ; and if you'll give me two passes 
for the show, I'll fix these things in a jiffy." "All 
right," said Mr. Owens, beating a hasty retreat to escape 
details of how " pah got burnt out of house and home ; 
and we gals had to go to work," &c. 

In another town a new hotel had just been completed, 
the size, furnishing and appointments of which were 
many years in advance of the locality. ~No famous star, 
had yet appeared in this town ; and the announcement 
of Owens created a great excitement, not only in the 
town, but the country around it. The proprietor of the 
hotel (a former citizen of New York) was delighted to 
have him for a guest, and assigned to his use the best 
room in the house ; remarking, as he handed the key : 
" I want you to notice the chandelier ; I am rather proud 
of it." 

When the porter brought the trunks to the room, he 
paused a moment, and with upward gaze, exclaimed : 
" I don't suppose New York City has a chandelier equal 
to that." The chambermaid seemed awe-stricken that 
anyone should occupy a room decorated with such a 



JOHN E. OWENS. 225 

chandelier; and when her attention was called to the 
lack of towels and the scarcity of blankets, she failed 
to recognize the possibility of discomfort where that 
chandelier could be contemplated. The dinner was 
unsatisfactory ; but request for food more palatable was 
ignored by the waiter remarking : " You is in 39, I 
believe, wid de big chandelier. Reckon you never seed 
anything like it before ! " The fireman failing to start 
the fire properly, thought he apologized fully by the 
assertion : " I was just looking at that chandelier." 

In fine, it was considered an adequate recompense for 
all manner of discomforts. This pertinacity grew so 
ludicrous as to be amusing to Mr. Owens ; but preferring 
comfort to splendor, he asked to have his room changed. 
The amazement of the proprietor cannot be described — he 
exclaimed : " What ! don't like that room with the big 
chandelier ? I am surprised." " My friend, its mag- 
nificence demoralizes all who approach it. I need towels, 
fire and other e very-day comforts, and to secure these, 
will gladly dispense with any amount of crystal and gas." 
The proprietor, with a puzzled manner, said : " You're 
always getting off some joke ; all the same I'll change 
your room to 42 — but," with a sigh, "I gave you the 
best in the house, and I did think you'd appreciate the 
big chandelier." 

Proceeding southward, Owens played a week at Mem- 
phis giving a change of bill nightly, thence to Mobile for 
15 



226 MEMORIES OF 

seven performances. Many " theatre parties " came over 
from New Orleans, thus bringing pleasant intercourse 
with old friends. Bright skies and summer temperature 
prevailed until Saturday, when a heavy rain set in. The 
company, under the charge of Theodore Hamilton (busi- 
ness manager), left the city after the final performance ; 
taking the midnight train for Selma, Alabama, where per- 
formance was announced for Monday following. During 
the afternoon telegrams had been received, stating that 
all reserved seats were sold, and a jammed house would 
greet the star on his first appearance in Selma. 

Mr. Owens had promised some friends to remain in 
Mobile until Sunday evening. The rain increased in 
violence throughout the day, flooding the streets, so that 
it was with difficulty we could drive to the station at 
eight p. M. Arriving there, the prospect for the journey 
was discouraging. All through the night the train made 
frequent stoppages, owing to inundation. At seven A. M. 
the difficulty of progress culminated with a crash. The 
engine had passed over a submerged culvert, but the 
tender jumped the track, and all the cars except the 
two sleepers were smashed to fragments. Fortunately 
most of the passengers had, an hour earlier, exchanged 
to the Pullman cars, as the water was pouring in the 
windows of the day coaches. 

With insecure bridges on either side, to advance or 
proceed was equally dangerous. After remaining twenty- 



JOHN E. OWENS. 227 

four hours iu this stranded condition, the passengers piloted 
by the conductor, braved the rain, and walked back to 
Greenville, Alabama. The disagreeableness of this four 
miles' tramp through mud and over dilapidated bridges, 
from which the flooring had been partly washed away, re- 
quired nerve and strength. But anything was better than 
sitting by the roadside. When the weary pedestrians 
arrived at Greenville, the plain hotel seemed to them a 
palatial refuge from temporary hardship and fatigue. 
Three days' delay ensued, telegraphic wires being down, 
communication with the outer world was impossible. 

Among the passengers was an Alsacian priest, whose 
knowledge of the English language was limited. He 
attached himself to Mr. Owens, courteously requesting to 
be seated by him at the table — gently explaining : " I 
can receive ze word zat you speak ; but I no comprenez 
ze rapide talk wiz ze mutter." Ways and means of pro- 
ceeding on the journey, of course led all conversation ; 
and theories were advanced, more or less impracticable. 
When the opinion of the Alsacian priest was asked, he 
invariably looked at Mr. Owens with a beaming smile, 
and replied : " I sail do whatever zis gentleman do." 
Mr. Owens afterwards laughingly said " he had never 
expected to attain the high position of mentor to a holy 
Father." 

On the fourth day conductor Howard gave the welcome 
tidings that a resumption of our journey was possible for 



228 MEMORIES OF 

those who were willing to encounter rough travel. Most 
of the passengers declined, preferring to wait until com- 
fortable transit could be had. The Alsacian priest, a 
Hebrew drummer, Mr. Owens and myself were all who 
bore the conductor company an hour later. A wagon 
drawn by oxen jolted the party over seven miles to a 
junction ; there exchanging to a hand-car, propelled by 
relays of laborers on the railroad, they crossed the crib- 
bing and trestles of the dilapidated road until a station 
was reached, where travel was resumed with all the 
comforts of a well-appointed train. 

All this time Mr. Owens was in ignorance of the 
movements of his company ; knowing only that his 
detention had entailed upon him heavy pecuniary loss. 
Arriving in Montgomery, he found the company waiting 
there, and learned that the immense audience in Selma 
had been dismissed, after which the company proceeded 
to Montgomery, where they gave two performances with 
meagre results. He never fretted over mishaps, or allowed 
them to dwell in his memory. Quickly relegating the 
Greenville disaster to the past, it was not spoken of 
again, save to mention some amusing occurrence of the 
four days 7 isolation. 

A continuance of the southern trip extended to Atlanta, 
Augusta, Savannah, Macon and Columbus, Ga. ; and then 
the season of thirty weeks terminated. During the final 
performance, a card was brought to the dressing- 



JOHN E. OWENS. 229 

room, bearing the name of an old acquaintance, and a 
pencilled line : " Can I see you, just for a moment ? " 
To which query Owens appended the reply, " Yes, if the 
moment (?) is limited to sixty seconds." The gentleman 
was ushered in, and after a cordial greeting, he said : 
" I've been trying to come up with you for three days. 
Misinformed as to your route, I went to the wrong towns ; 
but here I am at last, and bent on accomplishing my 
mission. My dear boy, I am ambassador, committee or 
aught else you may term it from the powers that be — 
Charles Howard, lessee of the Varieties Theatre, New 
Orleans, and the public of the same city; all being 
desirous to prevail on John E. Owens to manage the 
theatre next season." 

"Why this pilgrimage? I have already giving a 
negative reply to Howard's letter offering me that 
position." "Yes, I know that, but I am freighted 
with many arguments and much eloquence to change 
your decision." "Can't talk to you now. Your sixty 
seconds have vanished long ago. That's my cue — 
see you after the play — good-bye," said Owens, hur- 
riedly leaving the room. The interview was resumed, 
and subject discussed at supper. Urgent persuasion 
finally gained hearing so far as consent to go on to New 
Orleans for a visit, and meanwhile, reflect, before utterly 
rejecting the managerial proposition. A fortnight was de- 
lightfully passed in the Crescent city, and the final decision 



230 MEMORIES OF 

was made to accept the alluring terms to become manager 
of the Varieties Theatre for the season of 1874-75. 

Leaving New Orleans, by steamer for New York, Mr. 
Owens remained in the latter city several days, partly for 
recreation, but more especially that he might take pre- 
liminary steps towards forming a first class company. 
The summer vacation at Aigburth Vale was broken by 
frequent trips to New York on the same business ; never- 
theless, much delightful home rest and intercourse with 
friends was enjoyed. 



CHAPTER X. 

Preliminary Season of 1874-75— Auspicious opening of Varieties Thea- 
tre — "School for Scandal" — Owens as Sir Peter Teazle — John 
McCullough — Political excitement — General Phil Sheridan — En- 
gagement in Galveston, Texas — Provincial pride — Evoking indig- 
nation — The town of " Kateyfow" — Chance meeting on cars — 
" Towsontown" — "There is no such place" — Owens purchases 
Academy of Music, Charleston, S. C. — John M. Barron — October 
sport — Hunting dogs — Fever and ague — A mouse story — " Perkyn 
Middewick" at Ford's Opera House — Christmas jollity — " Our 
Boys " in Brooklyn — Claude Burroughs — Harry Murdoch — Season 
1876-76, westward — A heavy coupon — Visit to Lawrence Barrett's 
Cohasset home — A new play — A telegram — Second visit to California 
— " Doctor Peter Pangloss," LL. D. and A. S. S. 

'HE dramatic company organized for the season of 
1874-75, included E. F. Thorne, Chippendale, 
Laura Don, Ada Gilman and many other talented 
artists. Before proceeding to New Orleans, Owens 
supported by this company, played at Mrs. Drew's 
Arch Street Theatre, Philadelphia, opening August 29 th 
with " Victims " and " Solon Shingle" the same bill in 
which he had appeared at this theatre the first night of 
the previous season. The satisfactory results were equally 
coincident. A varied programme filled the second week. 

231 



232 MEMORIES OF 

In this preliminary season, Brooklyn, Boston, Wash- 
ington and Baltimore were also included, and in each 
city the personations of the great comedian were appre- 
ciatively enjoyed. 

" The School for Scandal" was the comedy selected 
for the opening of the New Orleans theatre. Close 
attention having been paid to accurate costumes, stage 
setting, and thorough rehearsals, the initial performance 
took place November 4th. Owens' name being a tower 
of strength, led the cast as " Sir Peter Teazle" that the 
full force of the company might be utilized to fill the 
other characters. He assumed the part of " Sir Peter " 
for this reason only; not being drawn to it with a 
feeling of inspiration or desiring to achieve a triumph 
in its representation. 

Possessing keenness as well as quickness of perception, 
he could not fail to bring into prominence any char- 
acter he assumed ; therefore his " Sir Peter Teazle " was 
an excellent performance. It did not reach the brill- 
iancy of his famous characters, but came quite up to his 
expectation. Having attained its object in successfully 
inaugurating the season with a comedy which included 
the entire company, Owens, after the week allotted to 
the " School for Scandal," resumed his especial repertoire, 
and as usual found the public appreciative. Later on he 
indulged in a rest, and announced " Clancarty" which 
had for weeks been in process of preparation ; then came 



JOHN E. OWENS. 233 

"Belle Lamar" by Dion Boucicault, and several of 
Bartley Campbell's comedies. 

Guided by managerial experience and good judgment, 
lie bad purchased the rights to these and other plays. 
All through his life he bought many original plays, 
absolutely ; some with a view of adding them to his per- 
sonal repertoire, others to be available in his managerial 
capacity. After reading a play, if he deemed it possessed 
merit, he purchased it for possible future use ; not nar- 
rowed down by the pressure of needing something new 
at the moment. Thus thousands of dollars were invested 
in manuscripts, which are now in my possession. Some 
of them he used, but even those not tested had the stamp 
of his approval. 

In addition to the strongly attractive stock company 
which had been engaged for this New Orleans season, 
many prominent stars appeared. Lawrence Barrett, John 
McCullough, Emmett, and others, alternated with the 
stock performances. The theatre opened with every 
prospect of a great season ; but its career was gradually 
overshadowed by much political excitement. A state of 
unrest had been brewing since the Pitt-Kellogg embroil- 
ment, and ultimately developed strong antagonistic parties. 
The influence on the theatres was slightly felt at first, 
but increased with various phases, and culminated when 
General Phil Sheridan and his staff were stationed in 
New Orleans, and martial law declared. This and the 



234 MEMORIES OF 

"armed banditti" accusation roused the indignation of 
southerners ; whilst the northern element in the city 
were equally hot-headed in asserting their views of the 
situation. 

The Rotunda of the St. Charles Hotel, and other public 
places, were thronged by those who excitedly discussed 
the political crisis. Amusements occupied but little 
thought. The floating population constituted the main 
attendance at the theatres ; and the effects of political 
engrossment became increasedly apparent in the audi- 
torium, and in the depleted receipts of the box-office. 
Adelaide Neilson arrived to fulfil her engagement at the 
St. Charles Theatre, but failed to appear. She speedily 
discovered that the climate (or the political atmosphere) 
made her ill ; and cancelling the date left for less tur- 
bulent localities. At the Varieties Theatre attractions 
which, under usual circumstances, would have insured 
crowded houses, failed to draw even moderately well. 

In January, Owens played in Galveston, Texas ; and 
would have been entirely satisfied with his engagement 
there except for the intense cold weather, caused by a 
" norther," which prevailed during the latter part of the 
time; however, (as he remarked) "it is well to have 
experience of every peculiarity of one's country." This 
was his first professional visit to Galveston. The place 
had much improved since he stopped there en route 
to another town some years before. At that time he 



JOHN E. OWENS. 235 

inquired of the proprietor : " Why don't you have bells 
in the rooms, and carpets on the floors? " " Good gracious ! 
sir/' responded the landlord, u we dare not do it. We 
should lose our custom. Even now we have complaints 
and discontent about ' putting on too much style.' " 

This position seemed to define the general patronage 
as comprising a rough element ; which was further veri- 
fied by some of the rules on the printed placards in the 
bedrooms : " The proprietor will not be responsible for 
pistols or bowie knives, except when placed in the office 
safe. If left under the pillow, they are at the owner's 
risk. Guests are requested to remove their boots and 
spurs before retiring," &c. The town had made rapid 
strides since then ; but, though dearly loved by native 
born citizens, it was not alluring as a permanent abode, 
in the view taken by a casual visitor. 

Its magnificent beach, pre-eminent for great width, 
inspired admiration, and its enterprise commanded appro- 
bation ; but the climate and other drawbacks deteriorated 
from its attractiveness to strangers. Viewing matters in 
this light, Owens unintentionally gave serious offence to 
a representative citizen of Galveston. Approaching the 
comedian in an effusive way, he said : " Mr. Owens, 
you've played a splendid engagement here. We like 
you, sir ; yes, sir, we like you. I was born in this city, 
and here have I lived ; and I can safely say that no star 
ever made a greater impression than yourself." Owens 



236 MEMORIES OF 

affably acknowledged the compliment tendered; and 
the gentleman continued : " You ought to settle here — 
we will build you a theatre. Make this your home ! " 

Involuntarily came the exclamation, "God forbid!" 
thereby invoking stormy indignation, and voluble asser- 
tions of the superiority of " cultured Galveston " to New 
York and all other cities. The peroration being : " All 
the world may concede eminence to an actor, but his 
position is not established until he has passed the ordeal 
of a Galveston audience, and gained their approval." 
Without discussing this point Mr. Owens quelled the 
storm of words by disclaiming intention of giving offence ; 
explaining that his home was so entirely satisfactory that 
any suggestion to change it was objectionable. 

The New Orleans season terminated April 3d ; and 
immediately afterwards Owens, supported by the com- 
pany, played in some of the smaller southern towns, as 
well as the more prominent ones — closing in Charleston, 
S. C, latter part of May. During such a tour it is 
always a desideratum to book Saturday where one can be 
comfortably lodged for the Sunday rest. The second 
week closed in a town where the best hotel was located 
in the railroad station ; but the noise of incoming and 
outgoing trains was patiently endured for the sake of 
good fare and attention received. An unusually compe- 
tent waiter served us at table, and eagerly recalled his 
identity by the reminder : " I waited on you at de ole Saint 



JOHN E. OWENS. 237 

Charles, in N'Orleans, sah ! " Mr. Owens responded 
pleasantly, and for the sake of manifesting interest, asked : 
"Do you have many trains to cater for on Sunday ? " 
" Kateyfow ! Kateyfow ! " replied the perplexed darkey, 
" I really don't think dat town is on dis line of road, sah ! " 
" Perhaps not," said Mr. Owens, drily ; " but I am glad 
I asked you, because now I know my premises." 

Business all through the southern circuit was excellent. 
The perfect rendition of the plays by a strong and well 
rehearsed company, giving additional zest to the enjoy- 
ment of the performances. 

While Owens was playing in Charleston, S. C, Mr. 
John Chadwick strongly urged him to purchase the 
Academy of Music in that city. Mr. Chadwick had 
been owner of the property for several years. He paid a 
large sum for it, and subsequently spent many thousands 
in alterations and improvements upon the building. He 
still considered it a good investment, but having exten- 
sive business interests in St. Petersburg, Russia, where 
his family resided, he was desirous to place all his capital 
there, and permanently locate in Russia. Strong mana- 
gerial proclivities inclined Owens favorably to becoming 
the owner of the Academy of Music ; but in view of the 
magnitude and importance of the purchase, he required 
time for reflection. Mr. Chadwick was well content with 
the promise given, " to think the matter over." 



238 MEMORIES OF 

Homeward bound from Charleston, the comedian met a 
party of New York friends who had been passing the 
winter in Florida. They intended stopping over in Rich- 
mond, and were urgent to have him tarry with them ; to 
this he said " nay " — but invited the party to spend a 
day at Aigburth Vale when they reached Baltimore. 
The suggestion was received with pleasure. "I'll meet 
you in the city ; let me know when you are due there. 
My address is ' Towsontown, Baltimore County/ " 
u Quizzing again/' remarked one of the party, " I never 
heard of Towsontown — don't believe there is such a 
place ! " " Nor I ! " " Nor I ! " ejaculated a chorus of 
voices. " Oh, what dense ignorance ! " was the retort, 
with an assumed injured manner, " Towsontown is famous ! 
so well known that my letters to Baltimore are sometimes 
directed : ' Baltimore, near Towsontown ! ' " This was 
hailed with a shout of laughter and the reiteration of: 
" Don't believe there is such a place." 

The car door opened at this juncture and a gentleman 
entered, who happily was known to the entire party ; at 
once Owens seized him, and in imploring accents, said : 

" Major P , come to my rescue, and the vindication 

of my veracity and hospitable intentions. Is there or is 
there not a village known as Towsontown ? " " Certainly 

there is," attested Major P , " I have relatives there ; 

and can personally vouch for its being a beautiful and 
delightful town. But why am I thus abruptly questioned ? " 



JOHN E. OWENS. 239 

An explanation, amid much laughter and joking, ensued. 
The name of our post-office town was often a source of 
fun with Mr. Owens' friends. He frequently received 
letters, addressed : Towzytown, Puseytown, Tansy town, 
Tolly town, &c, &c. 

During the month of June, some correspondence was 
held with Mr. Chadwick, relative to the purchase of 
the Academy of Music; and in July, they met in 
Charleston, for the final settlement of the business. 
Investigation of title, drawing up of papers and every 
detail of purchase was entrusted by Mr. Owens to Messrs. 
Buist & Buist, a firm whose fame as counsellors is only 
equalled by their brilliant record as scholars and social 
magnates. On July 25th, 1875, Mr. Owens, by making 
a large cash payment, became owner of the valuable prop- 
erty that thenceforth was known as "Owens' Academy 
of Music." Immediate arrangements were made to have 
it thoroughly equipped for the following season. Sparing 
no expense, the work progressed rapidly ; and when the 
theatre was opened in September, it well merited the 
encomiums lavished upon it. 

From that time it has continued to rank as one of the 
handsomest theatres between Baltimore and New Orleans. 
Ably managed, the best attractions have been offered to 
the public of Charleston ; thus meriting the position 
conceded to it as a standard theatre. For two seasons 
Mr. Frank Arthur was resident business manager of 



240 MEMORIES OF 

Owens' Academy of Music. He possessed considerable 
energy and ability, but he proved to be a very unde- 
sirable employe ; and his connection with the Academy 
terminated disastrously for Mr. Owens, even though the 
theatrical engagements had been largely successful. 

In the autumn of 1877, Mr. John M. Barron was 
installed as business manager, and by excellent judgment 
and close attention, he maintained the first-class record of 
the theatre. Mr". Barron was thorough in everything he 
undertook. Comfort and neatness behind the scenes was 
as carefully considered as the completeness and effective- 
ness of the stage and auditorium, or aught else subject to 
public comment only. Mr. Barron previously held a sim- 
ilar position, for several years, with Mr. J. H. McVicker, 
at his famous theatre in Chicago. He left there to resume 
his profession as leading man in a dramatic company. 
Mr. Barron had charge of Owens' Academy of Music for 
seven years. The severance of his connection with it 
arose from the fact that (in 1884) the owner desired to 
rest from playing, and was yet unwilling to remain 
entirely idle ; therefore assumed personal management of 
his theatre. 

Mr. Barron kept the Academy in exquisite order, and 
was thoroughly conversant with every business detail. 
He spoke fluently of its antecedents. The drop-curtain 
of the Academy was painted by Maynard Lewis, with 
close attention to the beautiful perspective and atmos- 




OWENS' ACADEMY OF MUSIC, 
Charleston, S. C. 



JOHN E. OWENS. 241 

pheric effects, for which that great artist was famous. 
Mr. John Chadwick paid one thousand dollars for the 
curtain, delivered in New York, and received the worth 
of his money. 

After returning from Charleston, Oweus passed the 
summer at Aigburth Vale ; prolonging his holiday for 
the October shooting. And to participate in this, he 
invited some friends who like himself were ardent sports- 
men. It is hard to decide which was enjoyed most by 
the host and his guests — the outdoor excitement with guns 
and dogs, or the jovial chats at table and in smoking- 
room. From ten years of age, Mr. Owens had been fond 
of gunning and devoted to dogs. When a boy, a friend 
of his father often took him out gunning, and culminated 
his happiness by lending him an old gun. The day he 
was actually able to buy a new gun marked a proud 
moment in his life. 

Owning fine hunting dogs was a passion with Mr. 
Owens, and the training of them a great pleasure. I 
recall a rather droll incident apropos of this taste. While 
playing in Grand Rapids, a gentleman of that city gave 
him a pointer puppy of pure pedigree. He apprecia- 
tively accepted the gift, thinking that the care of the 
dog would be satisfactory and brief, as the season was 
drawing to a close. The new acquisition was named 
after the town of his nativity, but abbreviated to " Raps." 
Mr. Owens' liking for him increased daily, and he was 
16 



242 MEMORIES OF 

eager to get home and train the puppy for a hunter. A 
few days before the close of the tour, an oifer was 
received to play two weeks, further west, on good sharing 
terms or fifteen hundred dollars certainty per week. He 
remarked to me : " I'll have to think that over ; I don't 
mind playing a fortnight longer, but what will I do 
about my dog ? He ought to be at home and in training." 
" Postpone his education," I jokingly suggested, " if that 
is all interfering with signing the contract." The comic 
side of the objection seemed to strike him, and laughing 
heartily, he dictated a message accepting the offer. 

All of Mr. Owens' dogs were fond of him, but some 
of them gave such wonderful evidences of affection and 
remembrance that it is with difficulty I refrain from 
mentioning a few of these remarkable proofs of canine 
intelligence. I am only restrained by the consciousness 
that dog stories, like fish stories, are apt to be incredu- 
lously received; and mine, though strictly true, might 
share the fate of those which are manufactured. Long 
before purchasing the farm Mr. Owens was a member of 
two ducking clubs on the Maryland shore. A capital 
shot, he cared more for the sport than he did for making 
a big game bag. The few days spared now and again 
from business were inspiriting, and the recreation health-, 
ful ; except, indeed, when by tarrying too long in the 
blinds, malarial influence asserted its sway in the form of 
chills and fever. 



JOHN E. OWENS. 243 

I remember a severe attack of this kind, which was 
treated with medicine containing much quinine, "to be 
given in small quantities." Mr. Owens concluded to use 
(or rather mis-use) his own judgment by trebling the 
doses and lessening the interval between them ; conse- 
quently, he became flighty during the night ; being aware 
of the cause I was not alarmed, but quietly agreed to 
any assertion he made. In the morning, standing beside 
him, inquiring what I should order for his breakfast, he 
suddenly remarked : " There is a mouse in this bed." 
Deeming this a vagary from the lingering effects of 
quinine, I soothingly replied : " Yes, so there is." He 
indignantly exclaimed : " I am not delirious ; I tell you 
there is a mouse in this bed." " Yes," continued I (intent 
on humoring the fancy), " there was a mouse there, but 
it has gone." Becoming quite angry, he said : "It is here 
now ; I've caught it, and I'll convince you." Meeting my 
indulgent manner with a glance of triumphant merri- 
ment, he took my hand and placed in it — a live mouse ! 

With a shriek, I rushed to the middle of the floor and 
sprang on a chair. Mr. Owens laughed until he cried ; 
and presently I joined in the hilarity. Later in the day 
he said to me : " The excitement about the mouse, and 
the hearty laugh it evoked, threw me into a perspiration, 
and broke my fever ; and now I am quite well. ' Throw 
physic to the dogs' — but no; don't distress the good 
beasts with quinine." 



244 MEMORIES OF 

November 15th, 1875, Mr. Owens began his next 
season, opening in "Self" at the National Theatre, Wash- 
ington. The succeeding week was filled with the same 
bill at the Academy of Music, Baltimore ; Mr. John T. 
Ford having engaged that theatre for six nights, his own 
Opera House having other attraction. At the latter 
house Owens appeared, November 29th, in " Our Boys/ 7 
this being the first time he had essayed the part of Perkyn 
Middlewick. At once the character pleased him, and the 
jolly butterman never found a better representative. 

His supporting cast had strong points ; noticeably, 
Mrs. Jane Germon, as Aunt Clarissa; Harry Lee, as 
Charles Middlewick; M. Lannegan, as the Baronet, and 
Miss Eugenia Paul, as Belinda. The witty, crisp dia- 
logue and the strong situations were fully developed, 
thus scoring a triumph for the play. Owens conceived 
Middlewick as a man of intelligence and sensitive feel- 
ings, with bluntness and vulgarity held in check on the 
right side of coarseness. His blunders in polite society 
(the inevitable sequence of ignorance) transpired without 
apparent acting. Wounded pride, anger and that ten- 
derness which was a fibre of Middlewick's really great 
nature, were portrayed with touching effect. In this 
intermingled the shading of racy humor, inseparable from 
the naturalness of the good-hearted English parvenu. 

" Our Boys " filled the week (and the theatre) satis- 
factorily ; closing the engagement with John T. Ford, 





\ 



MR. OWENS as PERKY N MIDDLE WICK 
In " Our Boys." 



JOHN E. OWENS. 245 

December 4th. After which Mr. Owens remained at 
home through the Christmas holiday s, enjoying the rest 
and the society of some invited friends — friends whose 
visits to Aigburth Vale were to them and their cordial 
host something to look forward to and remember as red 
letter records in the calendar. The humorous stories, 
jolly laughter and witty repartee lingered long in their 
memory. 

Resuming professional work January 3d, 1876, at 
the Brooklyn Theatre, the opening bill was " Our 
Boys." Shook and Palmer, managers, furnished an 
excellent supporting company, among whom were Miss 
Maud Harrison, Mrs. Farren, Claude Burroughs, Harry 
Murdoch and other favorites. The Brooklyn public 
unanimously pronounced the character of Perkyn Middle- 
wiclc to be especially suited to Owens' style of eccentric 
comedy ; and decided that it was destined to be associated 
with his name. This opinion became firmly established 
not only in Brooklyn, but wherever he played Perkyn 
Middletvick. The clear-cut personation bore evidence of 
infinite artistic ability and careful study. 

" Our Boys" in prosperous run, was intended to fill 
the fortnight in Brooklyn, but so many requests were 
made for " Caleb Plummer " that the manager, in com- 
pliance with general desire, annnounced "Dot" for the 
last two nights of the engagement. Said a gentleman, in 
Brooklyn, " Owens, whenever your name is heard, we 



246 MEMORIES OF 

begin to hunger for dear old Caleb. The thought of 
that part is inseparably linked with you, and it holds 
exalted rank among the perfect things which have been 
accomplished by dramatic art and impulse." 

March 21st inaugurated an engagement at McVicker's 
Theatre, Chicago ; thence to St. Louis for two weeks, 
and next, a like period at the Walnut Street Theatre, 
Philadelphia. The Centennial was in its incipiency 
during the latter engagement, and Mr. Owens anticipated 
recreation from the inspection of wonders from many lands. 
Unfortunately, the announcement of the opening of Cen- 
tennial Hall was premature, and early respondents were 
disgusted by the commercial aspect of numerous packing 
boxes, with their contents hidden away ; the din of 
hammers, and the incompleteness of the entire aifair. 
However, after the summer vacation the disagreeableness 
of this experience was obliterated by spending several 
days of September on the Centennial grounds, and fully 
investigating its wonderful resources ; and thus overcom- 
ing prejudices of the first unfavorable impressions, he 
came away fully imbued with patriotic pride in the 
"Great Centennial Fair." 

A western tour inaugurated the season of 1876-77 — 
the financial success making amends for trivial discom- 
fort. It was not always possible to " see the players well 
bestowed" in the hotels where they must abide awhile. 
From the rural districts adjacent numbers flocked to enjoy 



JOHN E. OWENS. 247 

"a good show;" and though less appreciative than the 
denizens of the town, they were loud in praise and 
applause. Many ludicrous happenings came within one's 
notice. I remember an inexperienced rustic entering the 
box-office with his dulcinea (both uncomfortably con- 
scious of wearing best clothes) ; with a " good mornm' " 
to the ticket agent, he continued : " Me and Sarah wants 
to see the show to-night; can you keep good places for 
us if I pays for them now ? " Giving an affirmative 
reply, the agent presented the box-sheet, asking : " What 
seats do you prefer?" " Isaiah, get the best," interrupted 
Sarah. Orchestra seats being suggested, they were marked 
off and paid for, but still the couple lingered ; the young 
man nervously fingering the coupons which had been 
given him. "Can I do anything else for you?" blandly 
inquired the agent, as he noticed embarrassed whisperings 
passing between the two. ""Well, yes," said Isaiah, 
"we've got to go round right smart number of places 
to-day, and we can't carry this big ticket with us handy 
(pointing to the box-sheet). Will you please take care 
of it for us till we come to-night ? " With well-assumed 
gravity the agent assented ; and furthermore promised 
that he would give instruction whereby the small tickets 
alone would secure their seats. Isaiah and Sarah, with 
many "thank 'ees," retired; much relieved that they were 
not obliged to " tote " that big ticket round town while 
they did their shopping. 



248 MEMORIES OF 

The small western towns have one great charm ; their 
vicinity abounds in lovely drives, and good horses can 
usually be had at the livery stables. The exhilarating 
autumn air adds additional enjoyment to this healthful 
recreation, and gives to a professional tour the flavor of 
a pleasure trip. In October Owens played at St. Louis, 
then Louisville, presenting "Our Boys" in addition to 
his usual plays. The piece took firm hold on the public, 
and the comedian was unanimously congratulated on his 
splendid characterization of Perkyn Middlewick His 
method was as delightful as his personality, and each 
were of the highest order. He next filled two weeks at 
the Brooklyn Theatre; for the three concluding per- 
formances of which "Our Boys" was given with a 
strong cast, and this being a return engagement, its 
brilliancy was all the more complimentary to the star. 

After six weeks embracing Elmira, Syracuse aud other 
New York towns, supported by the stock company of 
" J. Clinton Hall," Owens began an engagement at the 
Opera House of that manager in Rochester, N. Y., 
December 4th. This was destined to be interrupted by 
a terrible calamity, the burning of the Brooklyn Theatre. 
Unlike the usual rumor of disaster, news of this con- 
flagration was, at first, reported as mainly destructive to 
property. While reading of it, a thankful feeling arose 
in every heart that human life had not been sacrificed. 
Hence, the shock was all the greater, when the startling 



JOHN E. OWENS. 249 

fact was announced, that over three hundred persons had 
met a terrible death in this holocaust. Professional 
people, who were in close friendship with the gifted 
actors who# perished in the flames, were horror-stricken, 
and the effect was paralyzing. 

Owens at once said, " we must close the theatre." 
The manager, though sorely grieved at the disaster, 
did not give ready assent. "Remember/' he said, "it 
is the first night of 'Our Boys/ and we have a good 
take ; Brooklyn is many miles away." " My dear 
Hall/' urged Owens, "only a little while ago, I pro- 
duced that piece with Murdoch and Burroughs in the 
cast — their voices linger with me yet — I can't play. 
Poor fellows ! let us render the tribute of silence to their 
charred* remains." Clinton Hall, always good-hearted, 
speedily saw the situation in its proper light, and the 
theatre was closed until after the funeral of the victims. 

February 8th, 1877, the comedian commenced an en- 
gagement at the Boston Theatre, and met with the hearty 
welcome ever accorded him by Bostonians. He played to 
the capacity of the house, the fortnight being a phenome- 
nal success. I could write many pages on this pleasura- 
ble sojourn, but it would be a mere reiteration of incidents 
which occurred during former visits to that city. Nowhere 
did he find warmer friends or greater resources of intel- 
lectual and cultured enjoyment. Charming at the time, 
these experiences continued to be delightful in memory. 



250 MEMORIES OF 

Returning home, Owens signed a contract with John T. 
Ford for a southern tour ; pursuing which, he arrived in 
Charleston, S. C, March 9th. This was his first appear- 
ance in that city since he had become owner of the Academy 
of Music. When, as Perkyn Middlewick, he stepped upon 
the stage, he was received with deafening applause and 
cheers. Modestly expecting a mildly cordial recognition, 
he was quite taken by surprise at such an overwhelming 
manifestation of the kindly feeling of the Charlestonians. 
Beyond his gratification was a deeper sense, which led 
him to understand that the enthusiasm indicated that 
he was now regarded as being identified with Charleston ; 
to this he rendered responsive feeling, and increasingly 
regarded " the city by the sea " with a home feeling. 

The plays given at this time were " The Rivals," 
" Married Life," " Heir at Lata" " Poor Gentleman" 
together with sundry after-pieces, " Happiest Day of My 
Life," " The Spitfire," "Solon Shingle," &c. The entire 
engagement was an ovation of which the comedian had 
cause to feel proud. Savannah, Macon, Atlanta and 
other southern towns came in pleasant sequence ; and 
turning northward again, the route lay through Ten- 
nessee, Indiana and Ohio. Owens having renewed his 
engagement with John T. Ford, played in Michigan and 
Canada ; closing at Hamilton, Ontario, late in April. 

However much one delights in the fascination of the 
theatrical profession and the plaudits of the public, a 



JOHN E. OWENS. 251 

respite from excitement and mental and physical strain 
is ofttimes an agreeable change. The repose of home 
was a delightful transition from the bustling life of the 
previous eight months. 

One of the most enjoyable events of this vacation was 
a visit to Lawrence Barrett, at Cohasset. The ten days 
passed at this ideal home were charming beyond expres- 
sion. Mr. Barrett and his family contributed to the 
enjoyment of their guests in every way, without seeming 
effort of entertaining. Resources were endless — yachting, 
fishing, driving, and last, but not least, conversation. 
Thus condensing in our brief visit more genuine pleasure 
than could be reasonably expected in thrice the time. A 
strong attachment existed between Barrett and Owens, 
and it was of life-long duration. 

In additition to personal regard, Mr. Owens greatly 
admired Barrett's talent, indomitable energy and moral 
qualities. He considered the exalted position which this 
conscientious artist had attained, fairly won; and his 
untiring and liberal efforts to promote the advancement 
of the stage, something that entitled him to the admiration 
and gratitude of the entire theatrical profession. When- 
ever Barrett essayed a new part, the interest of Owens as 
to the result was second only to that of the tragedian. 
I remember when Barrett produced " Pendragon" in 
New York, he incidentally mentioned in a letter, his 
nervousness at the approaching event. We were at home 



252 MEMORIES OF 

then, and Mr. Owens consulting a New York paper, 
said : " It is to-night that Barrett brings out his new 
play. I thought it was to be later, and intended writing 
to him ; however, I will telegraph." He then dictated 
to me (his amanuensis) the following message : 

"Lawrence Barrett, New York City, — 

"May your success to-night be as instantaneous as the lightning 
which flashes the good wishes of your friends from Aigburth Vale. 

"John E. Owens." 

I kept a copy of this impromptu telegram, for it impressed 
me as being a concentration of earnest good wishes, 
unaffectedly expressed. Mr. Owens thought of his friends 
from the heart, and if he thought aloud, the words were 
just such as endeared him to them. 

The season of 1877-78 began in Pittsburg with 
" Barncastle and Reform" a five-act comedy by a Chicago 
journalist. If I remember right, his original authorship 
of this piece was in the form of a story which appeared 
in the Chicago Inter- Ocean. Afterwards he dramatized 
it, and sent the manuscript to Mr. Owens, requesting a 
careful reading, as the play had been written especially 
with a view of his creating the leading part. 

"Barncastle and Reform" had good points, which 
decided Mr. Owens to give it a trial. The character he 
assumed, Ebenezer Barncastle, was that of an impecunious 
individual known in slang term as " a dead beat/' On 



JOHN E. OWENS. 253 

the basis of affected familiarity with distinguished people, 
he imposed upon the credulous by borrowing money, and 
in various ways utilizing them to his own advantage. 
Unscrupulous, untruthful, but with quick wit maintain- 
ing the semblance of a gentleman, this impostor was a 
strongly drawn character. 

The action of the play transpires in Washington, and 
some of the situations gave Barncastle, in his pretended 
position of political influence, scope for humorous effects. 
Owens gave an admirable portrayal of this adventurer. 
The pomposity and brazen effrontery were clever bits of 
acting, and the Virginia dialect assumed, was perfect. 
Roars of laughter and much applause evinced the keen 
enjoyment of the audience. Owens carried the piece 
through, but even his efforts could not compass its success. 
Five acts of " Barncastle and Reform" proved tedious. 
Condensation and reconstruction might have saved it, but 
the author would not take this view of his play ; so, 
after a further trial in Brooklyn and Louisville, the piece 
was shelved, much to the author's disappointment, who 
said to Owens : " I firmly believed that your superb con- 
ception and acting of the leading part of my play was 
destined to make me a famous dramatist/' — receiving 
the reply : " The comedy cannot survive unless a free 
use of the pruning knife vitalizes it." 

Closing in Brooklyn October 13th, Owens indulged 
in a holiday, part of the time in New York and the 



254 MEMORIES OF 

remainder at home. November 26th he opened in "Self" 
at Robinson's Opera House, Cincinnati, Barney Macauley, 
manager. The weather was bitterly cold, and a chronic 
record of snow and sleet; and except Thanksgiving 
matinee and night the attendance was not large. Whether 
this was owing to the unpopularity of the theatre or the 
inclemency of the weather, he could not determine ; but 
that the public were not alienated from him was clearly 
demonstrated by subsequent big engagements in Cincin- 
nati — on a scale with all prior ones in that city. 

Newark, Trenton and sundry New England towns 
were next visited with agreeable results ; concluding in 
Fall River, January 5th. Two weeks later Mr. Owens, 
supported by his own company (which he had meanwhile 
organized), played return engagements in all of these 
towns ; the repertoire being limited to " Dot " (Cricket 
on the Hearth) and " Our Boys" The dramatic corps 
was selected with a view to making a strong cast for 
these especial pieces. An admirable performance was 
given of both plays. Caleb Plummer and Perky n Mid- 
dleivick were most enthusiastically received. The former 
seemed in each city to meet with increased favor. 

The character of Caleb was never obtruded, but Owens' 
personation of it was none the less a conspicuous creation. 
The return trip, including towns recently visited, termi- 
nated with six nights in Brooklyn. On March 11th 
he began an engagement of two weeks at the Standard 



JOHN E. OWENS. 255 

Theatre, New York; the brilliancy of which made an 
appropriate finale of a successful tour. 

Since Owens' visit to California in 1869, he had fre- 
quently received offers to play in San Francisco ; but 
other contracts prevented his acceptance. Having pleasant 
remembrance of California, he determined to make a brief 
visit there before settling at home for the summer. He 
therefore booked for a fortnight at the California Theatre, 
San Francisco, which was then under the management of 
John McCullough, opening April 1st, 1878, as " Caleb 
Plummer." Admirable talent distinguished the stock 
company ; but the performances of some of the characters 
was unmistakably mechanical. Apparently, they were 
unsuited to the ability or taste of those in the cast. The 
effect of the play as an entirety was marred ; but no 
adverse surroundings could chill old Caleb's hold upon 
the emotions of the audience. This masterpiece of the 
artist, standing midway between the tragic and comic con- 
fines, evoked the unanimous tribute that, " of all his histri- 
onic triumphs, Caleb Plummer was the crowning glory." 

The second week was filled with " Self/' " Our Boys " 
and "Heir at Law." All were well received ; but especial 
commendation was rendered to Dr. Pangloss, that per- 
sonation being in sharp contrast with the other char- 
acters. This human encyclopedia of learning, with his 
apt quotations and the facial expression that gave them 
point, was a polished performance. The pedantic and 



256 MEMORIES OF 

obsequious tutor was depicted with subtlety of humor 
which delightfully developed his peculiarities. Said a 
gentleman who witnessed it for the first time, "I have 
seen Owens in many parts, but in none of them is he 
alike. There is a different voice in each play, a different 
face, a different laugh, a different pair of legs ; in fact, 
a different man altogether." A few nights in Virginia 
City, Nev., one or two nights in Sacramento and the 
smaller towns completed this professional visit to the 
Occident. Afterwards six weeks of recreative travel 
were enjoyed. 

Though fraught with enjoyment, this excursion lacked 
the keen zest of his first visit to California. The pro- 
gressive spirit through the intervening decade, though 
valuable in consummating improvements, had in its 
rapid strides obliterated the attractive peculiarities of 
various sections of the state. Characteristics were merged 
into commonplacedness, and stage-coaches were only a 
reminiscence. Whilst this was a matter of self-gratulation 
to the residents, transient visitors selfishly regretted the 
change that rendered California less unique. But no 
march of improvement could alter the perfect climate and 
beautiful fairy-land of flowers. These, together with the 
grand scenery, formed an inexhaustible source of delight 
to Owens on his pleasure tour, for as such he regarded 
this visit to California; the professional engagement 
being an interlude of secondary importance. 



p 



i» 




MR. OWENS as DR. PANGLOSS, LL. D. and A.S.S. 
In " The Heir at Law." 



CHAPTER XI. 

Astonishing disclosure — "De Captain's butter" — Owens' inimitable 
manner — An unfaithful steward — Season 1878-79 — "The Serious 
Family" revived — "A Double Knot"— Quick transit to Toronto — 
"Dot " at Abbey's Park Theatre, New York — An Australian offer 
— Summer at home — The interlude of "Pinafore" — "For sweet 
Charity's sake " — Departure for Australia, September 19th, 1879 — 
San Francisco en route — " Higgins" in "Doctor Clyde" — A mining 
investment — Good judgment — A complication of ill luck — Engage- 
ment in Portland, Oregon — Owens returns east — Opens at Fifth 
Avenue Theatre, New York — Enthusiastic "welcome home" in 
Baltimore — Season of 1881-82, under management of "John T. 
Ford" — " Some of the first ladies in Norfolk " — A wrathful janitor. 

T^ETURNING from California in July, the remainder 
of the summer was passed at Aigburth Vale, in 
home rest. Among the guests during this vacation was 
a gentleman whom Mr. Owens had met some years pre- 
vious in Indianapolis ; subsequent visits to that city had 
ripened the acquaintance into friendship. Their first 
meeting had its origin in an absurd occurrence. The 
Bates House long ago was noted for its execrable table 
of unpalatable viands, uninvitingly served. Mr. Owens 
by liberally feeing the waiter impressed upon him the 
necessity of obtaining the best the hostelry afforded, and 
17 257 



258 MEMOBIES OF 

above all things inveighed against the bad butter. As a 
pleasant result of this exhortation we were served with 
delicious butter for two days, and then the rank article 
again appeared. " Sam," said Mr. Owens, " I can't stand 
this axle-grease ; you gave us good butter for two days, 
why can't you continue to do so ? " " Well, Massa, dat 
was de Captain's butter." "What do you mean?" 
" Just dis heah, de Captain live here all de time, and he 
buys butter for his own self. I bin a just cuttin' off a 
bit for you ; but now de Captain done locked it up, and 
I can't find whar he's hid it." 

The serene simplicity of the darkey while making this 
explanation cannot be described ; nor yet can Mr. Owens' 
consternation when informed that his waiter had been 
stealing butter for him. Ascertaining a de Captain's" 
full name, he immediately sought him to make amends 
for having been the unconscious instigator of petty 
theft. The interview was a success, if one might 
judge from the hearty laughter which pervaded it. 
" De Captain " proved to be a whole-souled and com- 
panionable man. During his visit to Aigburth Vale he 
insisted on his host telling the origin of their acquaint- 
ance to a party of gentlemen ; supplementing the story 
with the jocose remark : " But I have had my revenge 
here, enjoying free run of the dairy ; and many pleasant 
hours have come to me through peculation of 'de 
Captain's butter.'" 



JOHN E. OWENS. 259 

While narrating this, or any of Mr. Owens' stories, I 
instinctively wish that I could reproduce his manner of 
telling an occurrence. Clearly, in thought, I can see the 
twinkle of the eye, the merry twitching of the mobile, 
sensitive mouth, even before he began to speak. These, 
and the vivid character with which he invested the most 
trivial point, no description can convey. My hope is 
that those who knew him in private and professional life 
will, by what I write, grasp an outline, and recall some- 
thing of his method and manner. My pen and ink 
picture must needs be far inferior to the reality. I strive 
to give the likeness from life ; but my mental camera is, 
I fear, a diminutive Kodak in size and force. 

I am conscious of the same inefficiency when I attempt 
to delineate the traits of Mr. Owens' character. They 
were naturally and unreservedly manifested to me in 
daily life, and increasedly evoked my admiration and 
reverence. But I hesitate even now to dilate upon his 
grand nature, knowing that he shrank from praise and 
the publicity of kindness extended to others. After he 
passed into the spirit-land, I received from many persons 
letters expressive of gratitude to John Owens, for helpful 
service rendered in time of need. I was cognizant of 
some of these kind acts ; but the knowledge of many of 
them came to me thus, in letters from strangers. 

The attributes of Mr. Owens' character were noble and 
well balanced. His celebrity as an actor and popularity 



260 MEMORIES OF 

as a man, he prized with honest pride; but fame and 
adulation did not evolve the slightest tendency to vanity. 
Unostentatious by nature, the greatest of his manifold 
theatrical successes never inspired conceit or self-assertion 
of manner, for he was as unpretentious then as when 
roaming over the farm and talking to the laborers about 
rural affairs. His judgment was clear, and attempted 
imposition was always manifest to him ; but a generous 
disposition rendered it impossible for him to withhold 
kindness from those in trouble, even though their mis- 
conduct had brought them to dire straits. At the risk 
of his own interest, he extended a helping hand to save 
the reckless. Often it has been said to him : " Don't 
waste time and money on that fellow, he is incorrigible ; " 
but disregarding this caution, he would quietly endeavor 
to give aid and incite a desire for the recovery of self- 
respect. 

A strong case in point occurs to me. A young man 
made application for a position, unaware that Mr. Owens 
had the slightest knowledge of his antecedents. The 
request was met with the candid response : "I know 
your record. How can I trust a dishonest man ? " " Try 
me, sir," said the suppliant ; " I was only a boy at the 
time I went astray, and was sorely tempted. I have 
repented, and am striving to earn an honest livelihood." 
"I will give you chance to reclaim yourself," replied 
Mr. Owens. "You shall have the situation you ask 



JOHN E. OWENS. 261 

for; and I put you on your honor to do justice to 
yourself and me." A few months afterwards, an old 
acquaintance said : " Why do you keep that man in your 
employ? He is a born thief, and an ingrate. I know 
it from personal experience." " I am aware of what he 
has been," was the reply, " but he is trying to live it 
down. It seems hard that a man's life should be blighted 
if he strives to retrieve the past." " Chimerical Owens ! " 
laughingly ejaculated his friend. "You will find you 
are handling bad material for reform." 

Unfortunately, the result was discouraging to philan- 
thropy. The protege, after two years of apparently irre- 
proachable conduct, embezzled several thousand dollars, 
and decamped. Mr. Owens was indignant at this abuse of 
his confidence ; but whilst the dishonesty and ingratitude 
led him to be more cautious, it did not prevent extension 
of kind acts subsequently, to others. 

The season of 1878-79 began September 23d, at Ford's 
Opera House, Baltimore. " Our Boys " and other pro- 
nounced successes were admirably cast, and thoroughly 
enjoyed by large audiences. On Saturday, in compliance 
with much solicitation, " The Serious Family " was pro- 
duced. Owens, as Aminidab Sleek, revived the delight 
of his admirers, who a score of years previous had 
applauded this performance, then in the zenith of popu- 
larity. To the young people it was new, and their 
appreciation of its merits was equally evident. 



262 MEMORIES OF 

When it was underlined and in preparation, the come- 
dian hurrying home from a lengthy rehearsal was hailed 
by an acquaintance (a physician of the city), who driving 
up to the sidewalk, said : " I want to tell you how glad I 
am that you are to play Aminidab Sleek. It was the 
first part I ever saw you in, and I shall delight in 
renewing the recollection of the old Museum days. 
Baltimore is your debtor for many happy hours. I tell 
you, Owens, you are a public benefactor." The recipient 
of this compliment made brief recognition, and endeavored 
to terminate the interview ; but the M. D. exclaimed : 
" Hold on a bit. You have often brightened my life 
and dispelled depression by your matchless humor. I 
want to testify my gratitude by some special attention." 
" That is quite unnecessary," was the response. " But I 
insist. Jump in my carriage and drive with me to the 
Alms House, and I'll show you some remarkable small- 
pox cases out there ; a most interesting study, I assure you." 

Declining this invitation, Owens mildly suggested that 
"his dinner was more attractive to him just now, and less 
dangerous than medical investigation." " Ah, I'm sorry 
you won't go. I know you have scientific tendencies; 
and I'm really afraid you're not likely to have another 
opportunity of seeing such a variety of small -pox cases." 
With surprise and disappointment, the doctor drove 
off ; leaving Owens quizzically amused at this idea of 
" complimentary attention." 



JOHN E. OWENS. 263 

The Baltimore engagement being ended, it was dupli- 
cated in Washington under the same management. After 
a few days' rest at home, his tour was resumed with a 
supporting company organized by J. W. Norton and 
T. Davey. Detroit was the initial town of this route ; 
from thence through Michigan, Minnesota, Wisconsin 
and Iowa — arriving at Omaha, Neb., November 11th. 
Three nights there, a week in St. Louis, and another in 
Louisville, Ky., completed this engagement. 

An incident in one of the Wisconsin towns where Mr. 
Owens played, so truly reflects his chronic good humor 
and dry wit, that I cannot refrain from mentioning it, 
even though it was a trivial occurrence. The first- 
class (?) hotel of the town was situated about a block from 
the station. The morning we were leaving, Mr. Owens 
remarked to me : "I am thankful we are turning our 
faces towards Chicago and plenty, and so escaping starva- 
tion in this house." Just as we had descended the long 
flight of steps from the hotel, a cabman approached, 
eagerly asking: "Have a cab, sir?" "What for?" 
queried Mr. Owens, assuming a perplexed expression of 
countenance. " Take you to the depot, sir." " Oh ! no, 
thank you," was the response in an innocently simple 
manner. "We have only been two days in this hotel, 
and are still strong enough to walk half a block — don't 
we look so?" "Sir, I — " stammered the cabman. 
"Now, that gentleman," confidentially, indicating a 



264 MEMORIES OF 

feeble old man coming out of the door, " looks as if he 
had been a guest here for two or three weeks ; he needs 
your cab, and will be glad to have it, I am sure. Good 
morning." 

During the western tour, Owens gave a varied reper- 
toire, and received the usual laudations. His artistic 
methods, mercurial temperament and inexhaustible fund 
of humor made each and every one of his personations 
acceptable. One of his admirers remarked : " It is not 
only that I like to have a good laugh ; but I believe a 
town is better after a visit from Owens. His magnetic 
mirth smooths asperities, and puts life in a bright 
aspect." Concluding in Louisville, with "A Double 
Knot," on Saturday, November 29th, the next date was 
Toronto, Canada, December 2d. Rather a long jump, 
even now ; but then, travel had not been perfected to 
the degree of such rapid transit as at present. It still 
means a fatiguing journey when we say " the star closed 
in Louisville, Kentucky, on Saturday, and conducted 
rehearsal Monday morning in Toronto." " The Heir at 
Law " and " Toodles " inaugurated the week — Dr. Pan- 
gloss and Timothy Toodles winning golden opinions. 
Other comedies making a change of bill nightly, gave 
scope for versatility. 

Returning home, after a brief rest he played a week 
in Baltimore, another in Philadelphia. January 20th, 
1879, he opened at the Park Theatre, New York, in 



JOHN E. OWENS. 265 

fulfilment of a contract for one month with H. C. Abbey, 
"Dot" (Cricket on the Hearth) the attraction. The 
manager staged the play appropriately and beautifully, 
new scenery having been especially and elaborately pre- 
pared. The original fairy prologue of this (Boucicault's) 
adaptation was effectively presented. The stock company 
included C. W. Couldock, Sara Stevens, Minnie Palmer, 
Ada Gilman and other noted artists. The two first- 
mentioned names will be recognized as connected with 
" Dot " in its earliest triumphs. 

Such auxiliaries with Owens' Caleb Plummer, rendered 
the success of the piece a foregone conclusion. The old 
toy-maker was, as heretofore, tenderly and perfectly 
delineated. The eloquence of many pens, the loving 
admiration of many hearts have rendered tribute to this 
soulful and artistic picture far in excess of my power 
of description. " Victims" and "Solon Shingle" were given 
towards the close of this engagement, with the full quota 
of rollicking merriment of Butterby, and quaint eccen- 
tricity of Solon Shingle. The entire month was a record 
of brilliant performances, largely appreciated. A week 
in Brooklyn concluded the comedian's season of 1878-79. 

While in New York, Mr. Owens received an offer to 
play in Australia for six months, commencing the ensuing 
summer. Taking this offer into consideration, the terms, 
&c, inclined him to give a favorable reply ; but, before 
signing the contract, circumstances transpired which 



266 MEMORIES OF 

caused him to alter his views. He therefore declined the 
offer for the time specified ; but by no means relinquished 
the idea of playing in Australia. The usual happy sum- 
mer vacation began, but was pervaded with an unsettled 
feeling, as correspondence, relative to the Australian 
tour, continued, and decision might at any time be made 
to start on the journey. 

An interlude occurred in July, when some of the leading 
citizens of Baltimore interested themselves to get up a 
benefit for a charitable and patriotic cause ; the attraction 
to be the (then craze) comic opera of Pinafore ; pro- 
vided Mr. Owens would be the star of the evening, as 
Sir Joseph Porter. When the request was made of the 
comedian, he laughingly replied : " Like Fusbus, ' I haven't 
got a singing face' — Opera is not in my line." "Ah ! but 
your voice is good, and your name a sure drawing card. 
Remember this is for charity, and the musical critics will 
not be ultra exacting." " All right, I am ready to help 
the cause ; I will play Sir Joseph, and as to the musical 
score — do the best I can with it." July 11th, was the 
date appointed for the benefit. 

Mr. Owens studied the character thoroughly, but had 
only two rehearsals. The Academy of Music was densely 
packed by an audience in holiday mood ; but I doubt if 
they enjoyed the Opera more than Mr. Owens did. From 
the first furore in New York, when Pinafore was played 
at five theatres simultaneously, he was enthused with its 



JOHN E. OWENS. 267 

satirical humor. He played Sir Joseph Porter with a 
keen relish, and from his tremendous reception until 
the fall of the curtain, the entire house was en rapport 
with him, taking all the points instantaneously. He 
rendered the music fairly well ; not of course on the plane 
of the perfect vocalization of Miss Annis Montague, Mrs. 
C. Richings Bernard, and others of professed lyric ability, 
in the cast. The receipts of the entertainment, yielded 
two thousand dollars to the charity for which it was given. 

In August, Mr. Owens decided to go to Australia, and 
also to combine with that expedition a pleasure trip around 
the world. Preparations at once began, to put business 
and home affairs in such shape as to insure their smooth 
running during our absence; the length of which was 
intended to be one or two years. A state-room was engaged 
in the steamer to sail from San Francisco, September 
29th, and arrangements for our departure were rapidly 
completed. September 19th, 1879, we left Baltimore; 
everything was auspicious for the undertaking. Mr. 
Owens seemed even brighter in spirits than his usual 
cheery mood. 

Arriving at Sacramento, two telegrams were delivered 
to him — offers to play in San Francisco en route. Nega- 
tive replies were returned. At another station, three 
hours later, reiterated importunities were wired him, 
meeting the same response. Two managers awaited his 
arrival at Oakland, and accompanied him to 'Frisco, but 



268 MEMORIES OF 

he declined to discuss their propositions ; merely stating 
that " in two days he should start for Australia, and 
at present, he was weary with a long railroad journey/' 
and so dismissing the matter, proceeded to the Palace 
Hotel for a comfortable rest. 

In the evening, the subject was urgently renewed; 
and finally, Mr. Owens consented to remain over, if his 
state-room could be exchanged for one in the steamer 
sailing a month later. Unfortunately, this was arranged, 
and subsequent developments merged the month's post- 
ponement of the Australian voyage into its abandonment. 
Owens began an engagement at the Standard Theatre, 
San Francisco, October 6th, and played his usual round 
of characters. He also produced the comedy of "Br. 
Clyde/' for which he had secured rights from the author, 
Sidney Rosenfeld ; and afterwards he purchased the play 
for his sole ownership. 

The comedy made a favorable impression, and the 
part of Higgins enacted by Owens, was pronounced a 
great creation. His conception of the Doctor's factotum 
(or office-boy) ever eager to display (fancied) medical 
knowledge, was full of humor and neat points. It was 
replete with good situations; and in managing a ludi- 
crous position, he was without a rival. So much was 
conveyed by a glance of the eye, quaintness of delivery, 
and yet with repose of manner that accentuated the 
naturalness of the mirth-inspiring words. 



JOHN E. OWENS. 269 

Soon after Mr. Owens arrived in San Francisco, efforts 
were made to interest him in a gold mine (already incor- 
porated) which was situated in Arizona. Not being of a 
speculative disposition, he at first gave but little attention 
to the subject ; but gradually became sufficiently interested 
to make investigation. Appearances indicated to him, 
and to those who were more experienced in such matters, 
that the investment was desirable. But not content to 
rest on evidence of reliable testimony and specimen ore, 
he went to Arizona, accompanied by two friends who 
were celebrated mining experts. The trio thoroughly 
inspected the mine, and found that it equalled the repre- 
sentation given of it. 

Mr. Owens personally chipped off several large pieces 
of the ore, and immediately sealed them up in a box, 
which remained in his posession until he placed it on the 
assayer's table in San Francisco. These specimens being 
tested, ranked with the richest ore ever assayed in Cali- 
fornia. On this encouraging basis, he purchased stock, 
and finally became owner of two-thirds of the mine. 

The Australian engagement and tour around the world 
was indefinitely postponed, and a temporary residence in 
San Francisco substituted, with a view of exercising a 
personal supervision to expedite development of the mine. 
For awhile everything indicated fulfilment of sanguine 
hopes; but adverse fate brought a change. Delay in 
the arrival of the mill and machinery at the mine, 



270 MEMORIES OF 

culpable neglect of employes, and other unforeseen circum- 
stances gradually involved the enterprise. In fact, so 
great were the complications that Mr. Owens concluded 
to withdraw from the business, being unwilling to lose 
further time and money in pursuing the speculation. 

Even while thus deciding, he continued in the belief 
that a fortune could be realized from the mine, if ample 
means were judiciously rendered for its development. 
His opinion proved to be correct four years later, when 
a syndicate of wealthy capitalists put the mine in running 
order, and realized from it millions annually. 

I have spoken at length on this subject that I may 
remove an impression resting with some persons that 
Mr. Owens was duped by salted ore and mining sharpers. 
He was by far too level-headed to have been thus vic- 
timized. Though he never profited by his investment, 
much satisfaction accrues from the fact that his judgment 
of its value was corroborated by the golden harvest 
reaped by others. 

In the spring of 1881 Owens returned east. I have 
omitted to say that, during the winter of that year, 
he filled another theatrical engagement at the Standard 
Theatre, San Francisco, the salient feature of which was 
the production of a new comedy, " That Man from Cat- 
taraugus" This play, from the German of " The Cattle 
Dealer of Upper Austria," was translated and adapted 
for Mr. Owens by a prominent member of the San Fran- 



JOHN E. OWENS. 271 

cisco press. The star part was that of the cattle dealer, 
an honest, ingenuous, warm-hearted countryman, of vig- 
orous intellect and marked business methods. An old 
man, but diametrically opposite to garrulous Solon Shingle, 
or tender, self-effacing Caleb Plummer. The character 
was replete with bluff humor, and yet had its affectionate 
side. In light and shade it was an exquisite creation; 
and general opinion gave the verdict that " it fitted Owens 
like a glove," and was to him another leaf of laurel. 

The comedy entire, made a hit, necessitating the use of 
that agreeable notice — " Standing room only." The sup- 
porting cast was excellent, especial praise being awarded 
to Mr. Joseph Arthur, who as Stockman, the broker, 
achieved prominence for the individuality of character 
with which a small, but strong, part was invested. 

In February, Owens commenced an engagement in 
Portland, Oregon ; " That Man from Cattaraugus" was 
the opening bill. An immense and enthusiastic audience 
greeted the star on his first appearance, and never was 
an actor more generously, courteously, and warmly wel- 
comed. The new comedy made a sensation ; " Dr. Clyde" 
" Self" " Our Boys" and other plays followed, and were 
applauded to the echo. These personations marked a 
series of triumphs. Every available seat was engaged 
long in advance. The excitement and enthusiasm was 
unparalleled in the record of dramatic engagements in 
Portland. The fame thereof, spread to the neighboring 



272 MEMORIES OF 

towns. Managers near by came to arrange dates with 
Owens for their theatres, and from more distant places 
telegrams and letters arrived proposing terms. 

A tour was suggested onward to British Columbia, 
and returning by a different route. This would have 
proved lucrative and also afforded delightful travel ; but 
Mr. Owens did not feel free to accept, as he had, before 
leaving San Francisco, signed contract with C. R. Gardner 
to appear at the Fifth Avenue Theatre, New York, in 
March. He, however, telegraphed requesting a postpone- 
ment of his New York engagement, but was refused ; 
being strictly honorable, it never occurred to him to 
cancel, and thus he sacrificed thousands of dollars to 
keep faith where honor was non-responsive. 

The Portland engagement closed on the 10th of Feb- 
ruary ; its financial results were great, and the pleasant 
visit to Oregon, fraught with social reminiscence ever 
prized. Returning to San Francisco, Mr. Owens remained 
there a few days, and then proceeded to meet his New 
York date. " That Man from Cattaraugus " was the 
piece for which he was booked. 

Of this New York episode I have little to say. Many 
details arise in my memory, but I refrain from putting 
them into words. Difficulties at once began in regard 
to the company which Mr. Gardner had engaged, and 
also about other matters for which he was responsible, 
thus engendering his animosity. A play, which else- 



JOHN E. OWENS. 273 

where had packed theatres and turned people away, was 
here a failure. 

After three weeks in New York, Mr. Owens played 
in the adjacent towns ; next in Philadelphia, where 
he received a cordial welcome ; thence to Baltimore. 
The ovation on his return home, after an absence of 
eighteen months, was simply indescribable. His reception 
lasted for several minutes, and was mingled with cheers. 
This seemed likely to be of indefinite duration, had 
he not broken it up by insisting on speaking the first 
lines of his part. He afterwards said to me : " If I had 
permitted my reception to keep on a second longer I 
should have been unable to speak, I was so deeply 
touched by this welcome home." 

At the fall of the curtain the applause was uproariously 
renewed, and continued until Owens appeared and spoke 
a few words of heartfelt appreciation for the cordial good 
will manifested towards him. " That Man from Catta- 
raugus" was the opening bill, and at once became a 
favorite. "Dr. Clyde" and some of the old pieces filled 
the week, which as an entirety was marked with brilliant 
eclat. The summer at home was ideal in happiness and 
restful enjoyment. Old friends gathered around us at 
Aigburth Vale, and content reigned supreme. 

On the 29th of August Mr. Owens began the season of 
1881-82, at Ford's Opera House, Baltimore ; thence a 
southern tour of many cities, extending to Pensacola, 
18 



274 MEMORIES OF 

Florida. After leaving Baltimore the September weather 
was unusually warm, and unfortunately the time was 
filled in theatres where the dressing-rooms were small. 
In one situated on the ground floor, Mr. Owens requested 
me to leave the shutters partially open, thinking he was 
secluded from observation. But he quickly perceived 
male and female figures sitting on a fence, gazing into the 
room. Indignantly closing the shutters, he remarked!: 
" To be stifled seems inevitable ; " and calling the janitor, 
directed him to " order those people to go away," wrath- 
fully adding : " It is the most impertinently low-bred 
conduct I ever saw — bad enough for men and boys, but 
even worse for women." " Well, now, see here, Mr. 
Owens," remonstrated the janitor, " I don't want you to 
say that, 'cause them ladies is some of the first ladies in 
Norfolk." 



CHAPTER XII. 

Yule-tide at home — "Esmeralda" — "You are the man for Elbert 
Rogers" — Entertaining friends at Aigburth Vale — The Pickwick 
Club — Season of 1883-84 — " Cooke's Corners " — Hezekiah Perkins — 
Owens shelves the new play — "Major DeBoots" and "Solon 
Shingle " heartily welcomed — Brilliant performance at Harlem 
Theatre, New York — "A golden set" — Summer at Greenbrier, 
White Sulphur Springs, Va.— Winter in Charleston, S. C — Will. T. 
Keogh — Return home by steamer — Illness — Mistaken choice of a 
physician — Dr. W. C. Van Bibber called for consultation — Rescue 
— A blissful summer — Charleston earthquake — Mr. Owens goes to 
the stricken city — Effects of exertion and agitation — The clouds 
gather — Patient suffering — Peaceful and final sleep. 

TT7HE southern tour of 1881 was a counterpart of many 
^ previous ones in the same localities, where Owens 
was ever a superlative favorite. No adverse comment 
occurred except at Talladega, Ala., where he was booked 
for the first time. After inspecting the so-called theatre, 
he declined to play; assuring the owner of the build- 
ing that "he never played in halls, destitute of scenery, 
gas, and other indispensable appliances for theatrical 
performances ; " but, at the same time signified his 
willingness to pay the rent and other expenses that had 
been agreed upon. 

275 



276 MEMORIES OF 

This arrangement was entirely satisfactory to the pro- 
prietor, but some of the inhabitants were not so easily 
propitiated; their disappointment at not seeing "Solon 
Shingle " merged into indignation, and they threateningly 
asserted that " Owens would be sorry for the day he put 
such an insult on Talladega — he'd rue it, that he would! 
When shows was printed in papers, and their picters 
stuck up on walls, the people had a right to them — 
perhaps the law might have something to say, &c." 
These impulsive words were probably the safety valve 
for chagrin, and did not arise from ill feeling to the 
star, as most of the speakers thereof, went on the train 
next day to see him play in Selma. An extension of 
this engagement with Mr. John T. Ford included a 
return trip through Tennessee, Ohio, and other states, 
and terminated November 26th, 1881. 

The following month was passed at home, and the 
Christmas season fully enjoyed. During this interval 
he organized a company for four weeks' travel through 
the Pennsylvania towns. An inefficient business agent 
and the illness of the stage manager trebled Mr. Owens' 
labors. At the end of the month he felt the effect of 
these combined duties to have been severely exhausting 
in mental and physical stress ; and therefore determined 
to rest for the remainder of the season. 

A little while after his return home, some theatrical 
friends, from New York, said to him : " Owens, that 



JOHN E. OWENS. 277 

play of " Esmeralda" now on the Madison Square Theatre 
boards, has an old man in it who would be something 
wonderful in your hands. You ought to secure the 
right of that play outside of New York." Later on 
others said to him : " You are the man for that part ; " 
and the same suggestion met him in sundry newspaper 
articles. He concluded to run on to New York and see 
the piece. 

He was by no means enthused with the play of 
"Esmeralda" nor with Elbert Rogers, but thought he 
could make the latter prominent. He regarded it as a 
desirable acquisition in the light of an easy part that 
would be a restful change from his usual comedy char- 
acters and double bills. The proposition to purchase 
rights for " Esmeralda " was refused by the management ; 
but they eulogistically descanted upon Mr. Owens' adap- 
tability for the part, and made him an offer to join the 
company and play Elbert Rogers in New York. This 
was promptly declined ; but after considerable discussion 
he consented to reflect upon the matter. 

The Madisou Square Theatre was conducted with a 
stock company which included several stars. Mr. Owens, 
weary with the fatigue and responsibility of managing, 
finally concluded to accept the desirable terms submitted 
to him, and signed a contract for the remainder of the 
season. He began in February, making an immense hit 
as Elbert Rogers. So thorough an artist could not fail to 



278 



MEMORIES OF 



turn any character into something quaint, beautiful or 
mirthful, and bring it into prominence by his assumption 
of it. The popularity his personation of Elbert Eogers 
attained, grew and strengthened with the public. 

His engagement at the Madison Square Theatre was 
pleasant and non-laborious. Being within easy access of 
home, sundry happy Sundays were passed there ; ofttimes 
accompanied by a party of friends, who were his guests 
from the time they left New York until their return to 
that city. Mr. Owens' hospitality was lavish, and to the 
minutest detail he delicately and thoroughly attended to 
the enjoyment of his guests. " A prince of good fellows " 
in social life at large, he was also a perfect host at home. 
His position at the Madison Square, being free from 
care, gave him much leisure, as well as relieving the 
strain of hard work which heretofore had devolved 
upon him. He was so comfortably situated that he 
yielded to the pleading of the management, and continued 
another season with the company. 

This was a year of travel, but not of fatigue. The 
route was through the usual cities of Owens' former 
tours, and everywhere he was greeted with enthusiasm. 
Perhaps in New Orleans the greatest ovation was ren- 
dered to him, being manifested, not only by applause 
and cheers at the theatre, but by myriads of friends in 
private life, eagerly competing who should shower the 
most attention upon him. Though he was deeply touched 




MR. OWENS as ELBERT ROGERS 
In "Esmeralda." 



JOHN E. OWENS. 279 

by the evidence of such enduring attachment, he per- 
sistently declined feasting and fetes, and enjoyed the 
society of his friends in a quiet way. 

The daily offering of many flowers, which brightened 
his rooms in the hotel, also spoke of old associations, and 
was pleasant incense to the heart, and lovely to the 
sight. New Orleans people thought of Mr. Owens as 
their own comedian. Many of his masterpieces were 
perfected there, during his former years of management 
of the " Varieties." At that time his genial humor, 
sparkling wit, and noble nature, drew to him a large 
circle of friends. Essentially cordial, he was the centre 
of an extensive and intelligent coterie, and time intensi- 
fied the impression then made ; this was evinced by 
the spontaneous welcome now extended to him. 

He visited all the haunts of former days — the " Chal- 
mette," " Pickwick," and other clubs ; there enjoying 
much pleasant intercourse with friends of yore. The 
Pickwick Club sent an exquisitely beautiful stand of 
flowers of immense size, symbolically arranged ; accom- 
panying this testimonial was the following note : 

Pickwick Club, New Orleans, December 14th, 1882. 

"John E. Owens, Esq.: 

" Dear Sir, — We desire to show you how kindly we appreciate your 
presence here among your old friends, who have witnessed your great 
triumphs in characters, which have been living ideals, through your 
eminent ability as an actor. 



280 MEMORIES OF 

" We recognize the same powers now exhibited in your personation 

of Elbert Rogers, and we are glad that your heart is as warm, your 

eye as bright, and your wit as keen as in the days of 'Auld Lang Syne.' 

" With the best wishes of all your old friends composing this Club, 

" I am yours very truly, 

"James G. Clark, 

President." 

A copy of the reply to this note has been furnished me by 
a prominent member of the " Pickwick Club." For this 
favor, I am indebted to Mr. T. L. Bayne, of New Orleans, 
a renowned lawyer and courtly gentleman, whom Mr. 
Owens regarded with esteem and friendship. I subjoin 
the letter, and am strongly tempted to give Mr. Bayne's 
eloquent lines which accompanied it. 

"St. Charles Hotel, New Orleans, December 15th, 1882. 
"James G. Clark, Esq.: 

"Dear Sir, — How shall I express my thanks for the kind note and 
beautiful flowers, conveying as they do a cordial welcome from the 
' Pickwick Club,' and the remembrance of ' Auld Lang Syne.' 

" Your assurances of esteem and friendship, and your good opinion 
of me, both personally and professionally, touch my heart, and are 
very precious to me. 

" I will not attempt to put in words how deeply I feel your kind- 
ness; but as long as I live, I will ever remember my warm-hearted 
friends of the ' Pickwick Club.' 

" Hoping that there are many bright days of social intercourse for 

us in the future, 

" I am, regardfully yours, 

"John E. Owens." 




MR. OWENS as HEZEKIAH PERKINS 
In " Cooke" s Corners."— Act %. 



JOHN E. OWENS. 281 

This visit to New Orleans was not only charming at the 
time, but remained so as a treasure of memory. It was, 
alas ! a final adieu to that city and its people. 

The "Esmeralda" season concluded June 10th, at 
Bockville, Ind. Mr. Owens deferred his return home, 
proceeding at once, with his wife, to Hot Springs, Arkan- 
sas, that she might be relieved from the suffering of 
rheumatism. The stay at these springs was prolonged 
until August, thus rendering the summer at home very 
brief. Mr. Owens had positively declined urgent per- 
suasion to remain another season with the " Esmeralda " 
company ; and no inducement offered could shake his 
determination. The separation transpired amicably ; and 
though much disappointment was expressed by the man- 
agement, friendly feeling existed ever afterwards. 

Some months previous, a new play had been submitted 
to Mr. Owens, but did not entirely meet his approval. 
Later on the author altered the piece, and solicited a 
second reading. An appointment was made, and the 
play had another hearing. After suggesting some further 
improvements to which the author acceded, he consented 
to personate the leading part. This with the under- 
standing that a first-class supporting company was to be 
provided, and all details of business attended to by the 
manager ; for in that capacity the author purposed to act. 
In this way it was agreed that the star should be entirely 
relieved of every responsibility save that of playing. 



282 MEMOKIES OF 

Rehearsals began in November, and the comedy of 
" Cooke's Corners " was produced first at Wilmington, 
Del., thence, Newark, and through the state of New 
York. The play was unsatisfactory when staged; the 
effect did not equal expectation made from reading the 
manuscript; and the company falling far short of the 
" first-class " standard promised by the manager. Liking 
the part of Hezekiah Perkins, and reflecting that the play 
could be built up and the company strengthened, Mr. 
Owens continued to fulfil his engagement. All of this 
might have been accomplished in the hands of a com- 
petent manager; but weakness and inexperience were 
incapable of carrying out the ideas suggested. 

The inevitable result was, that though Owens received 
highest commendation for his creation of " Hezekiah Per- 
kins" he declined to be burdened with the weight of 
incompetency attending " Cooke's Corners ; " therefore, 
shelved the piece and returned to his former repertoire. 
With a reorganized company, he appeared at the Arch 
Street Theatre, Philadelphia, in "Everybody's Friend," 
and "Solon Shingle," playing with his accustomed vim 
to a responsive house. Two nights in New Brunswick, 
and four in Providence filled the ensuing week. 

At the matinee Mr. Owens was sick, but no evidence 
thereof was apparent to the audience ; nor at night, when 
the plays went off gloriously. After performance he 
continued very sick, but decided to leave for New York 




MR. OWENS as HEZEKIAH PERKINS 
In "Cooke's Corners." — Act 2. 



JOHN E. OWENS. 283 

by the midnight train, that he might have a full day's 
rest on Sunday before commencing in Harlem, which 
was the next booking. Arriving at the Sturtevant House 
early Sunday morning, we were comfortably located in 
the rooms we had occupied the previous winter; thus 
adding a home feeling to a restful one. Mr. Owens 
refused to see a physician until he had tried repose, 
and simple remedies for relief. After a quiet sleep of 
several hours he felt much better, and so continued 
through the day; retiring at night in the full belief 
that his indisposition was rapidly vanishing. But 
towards morning he grew ill, and a hemorrhage 
from the stomach supervened. Dr. Quackenboss, who 
was immediately summoned, greatly lessened my anxiety 
by the assurance, that this, in all probability, would 
relieve the liver and avert congestion. He strictly inter- 
dicted resumption of professional engagements; impres- 
sively dwelling upon the necessity of perfect rest for 
a fortnight, and the danger of exertion at this critical- 
juncture. 

Mr. Owens acquiesced in the mandate, but later in 
the day suggested the possibility of playing a portion 
of the week. I implored him not to think of doing so ; 
but on Tuesday he decided to fill the remaining nights 
of the Harlem booking, saying to me : " I never broke 
faith with the public, and will keep that record, if I 
can." With superhuman effort he went through the 



284 MEMORIES OF 

performance, and under excitement played " Major De- 
Boots" and "Solon Shingle" with his usual brilliant 
humor and perfection in those personations, but the 
reaction next day was severe. Dr. Quackenboss was 
indignant, and alarmed at Mr. Owens' persistence; but 
he used every means to build up his strength in response 
to the appeal — " Get me through this week, and I will 
be an obedient patient ; go home and rest for a month." 

The Harlem Theatre was well filled each night, and 
on Saturday there was an overflowing house; as the 
shouts of laughter penetrated the dressing-room, they 
jarred upon me, in my great distress lest my husband 
should suffer from the exertion he was making. At the 
fall of the curtain he responded to a vociferous call, but 
merely bowed in acknowledgment of the compliment; 
some friends who were among the audience called to see 
us next day, and were surprised to find Mr. Owens ill. 
They said it was the general comment as the audience 
dispersed — "Owens is in fine spirits, he never played 
that bill better." This was his last theatrical appear- 
ance ; and it was " made in a golden set," as brilliant as 
the noontide of his fame. 

His place in the drama, is not likely to be filled. 
Seldom does an actor possess his power to run the entire 
gamut of the passions, combining with it the richness 
and variety of intonations to vividly convey every 
emotion. Thoroughly in love with his art, experience 



JOHN E. OWENS. 285 

gave hini a deeper insight into the philosophy of humor • 
and time, mellowing mirth, intensified its raciness. 

Mr. Owens had booked for a season to continue until 
May; he cancelled two weeks of it, pending his ex- 
pected recuperation. After his return home, though 
acute illness lessened, chronic liver trouble continued, 
and rendered the renewal of professional work impossible. 
In a few months he had improved very much ; and the 
baths and water of White Sulphur Springs, Ya., (where 
he passed the summer) completed his restoration to health. 
Returning home in September, he concluded to decline 
all offers for the ensuing theatrical season, having de- 
cided to fulfil an intention he had deferred from year 
to year — that of personally managing his own theatre 
in Charleston. 

This arrangement enabled him to spend the winter 
in a southern climate, and combine pleasurable restfulness 
with moderate occupation. He engaged Will. T. Keogh, a 
resident of Charleston, as assistant manager. Mr. Keogh 
had been connected with the Academy of Music when a 
mere lad, being nightly employed as a distributer of pro- 
grammes. After his school days finished, he was given a 
situation in the box-office, while Mr. John M. Barron was 
business manager. Energetic, industrious, and quick of 
apprehension, he attracted Mr. Owens' favorable atten- 
tion ; but no promotion being possible at that time, young 
Keogh associated himself with the " Hess Opera Co." for 



286 MEMORIES OF 

advance work. Kemaining in that capacity for two sea- 
sons, he returned to the Academy of Music in 1884 — 
being selected from many applicants for the position of 
assistant manager; Mr. Owens discerningly foreseeing 
that Keogh 's aptness and conscientiousness would render 
justice to the duties required, and stand him in good 
stead for the lack of experience in one so young. 

The result fully justified this confidence. Under Mr. 
Owens' guidance Will. Keogh developed intelligent execu- 
tive ability, which formed the basis for excellent business 
habits. This pleased Mr. Owens ; and with his appro- 
bation was combined personal esteem and regard for his 
protege, who warmly reciprocated the sentiment. The 
position of "Assistant Manager" continued to be filled 
by Mr. Keogh during Mr. Owens' lifetime ; after which 
he became lessee of " Owens' Academy of Music," and 
has ably maintained its record as a first-class theatre. 

The theatrical season 1884-85 of the Academy, with 
the owner at the helm, was a magnificent success ; un- 
equalled in financial and other respects. The delightful 
climate of Charleston admirably suited Mr. Owens; 
and the charming winter and spring, with pleasant 
associations, were so attractive that we lingered there 
until late in May. The weather grew very warm, and 
it was decided that our return should be by steamer, via 
New York ; stopping over in the latter city a few days 
before settling at home for the summer. 



JOHN E. OWENS. 287 

A sea voyage had ever been enjoyable and invigorating ; 
but on this occasion an attack of dyspepsia interfered with 
the usual experience, and for the first time in Mr. Owens' 
life he was sea-sick. So extremely was he depleted that, 
on arriving in New York, he felt unequal to the few 
days' recreation he had planned. Eesting a day, he pro- 
ceeded home; but deeming his indisposition transient, 
did not call in medical aid. Probably he would have 
done so, had our family physician, Dr. T. H. Wingfield, 
been alive ; but that dear friend had passed into the spirit- 
land some months before our return. Mr. Owens mourned 
this loss of a personal friend, and felt the need of his 
professional skill as sickness continued. . At length an 
acquaintance persuaded him to consult a new physician, 
represented to be a specialist in dyspepsia. This step 
proved to be a fatal mistake ; for under the treatment of 
this alleged proficient, he gradually grew worse, until he 
became alarmingly ill. 

Finally the case was pronounced to be "internal cancer — 
incurable." Having faith in the physician, his decision 
was believed by me, and received as a death knell. 
After four months of this agonizing delusion, something 
occurred which caused me to doubt the infallibility of 
the attending M. D. I requested a consultation, and 
selected Dr. W. C. Van Bibber. The result was total 
annihilation of the cancer diagnosis. Like the glory of 
sudden sunshine and warmth breaking through total 



288 MEMORIES OF 

darkness came Dr. Van Bibber's assurance that "Mr. 
Owens 7 illness was curable." Not the slightest symptom 
of cancer existed. Liver and stomach trouble had been 
the cause of sickness ; this was the true diagnosis, and 
subsequently substantiated. 

Mr. Owens 7 strength had been seriously impaired by 
four months' lavish administration of anaesthetics ; but 
his iron constitution enabled him to survive this treat- 
ment, which would have proved fatal to a less vigorous 
man. Under the care of Dr. W. C. Van Bibber, he 
steadily improved, and by the spring was quite well. A 
happy summer was passed at Aigburth Yale, and the 
dreadful past relegated to oblivion, or only remembered 
as a horrid nightmare, where suffering contrasted darkly 
with the present brightness of thankful hearts. 

The glory of the summer was on the wane. Mr. Owens 
having received propositions to play during the coming 
season, was considering the same, when all business 
engagements were set aside by the tidings of the earth- 
quake in Charleston ; it was a shock in every sense of 
the word, involving monetary loss in addition to solici- 
tude for friends in Charleston. As soon as access 
was attainable to the city, he proceeded there to make 
personal inspection. His impressions were given in the 
following telegram which I received from him : " Calamity 
more serious than pen or picture has described. No 
words can depict the desolation." 



JOHX E. OWENS. 289 

At once he set about having the Academy of Music 
repaired. Its massive strength had rendered it better 
able to meet the shock than many of the other public 
buildings ; but still it was greatly defaced. The repairs, 
frescoing, &c, were immediately put in hand ; and 
regardless of expense the theatre was speedily restored 
to its condition of safety and beauty. The early book- 
ings could not be met ; but before the renovation was 
completely finished, the season began, and Mr. Owens 
arranged to have the receipts of the first entertainment 
given to the earthquake sufferers. He had previously 
offered the ball-room (a portion of the Academy that was 
uninjured) as a hospital for the disabled, or a refuge for 
the houseless otherwise unprovided for. 

After his return home, he estimated the pecuniary 
involvement that had accrued from the earthquake ; and 
then, to the utmost dollar he could spare, sent a check to 
Mayor Courtenay for the " earthquake fund," with a few 
lines expressive of sympathy, and regretting that his own 
losses from the calamity prevented the sum being as large 
as his inclination dictated. In reply came this graceful 
acknowledgment from Mayor Courtenay : 

"City of Charleston, 

"Executive Department, October 1, 1886. 

"Dear Mr. Owens, — 

"There is before me, as I write, a little slip of paper, with 
numerals and an autograph which will convert it into currency; 

19 



290 MEMOJRIES OF 

and this will ultimately tighten the roof, strengthen the foundation 
and restore to comfortable use some needy sufferer's home wrecked 
by the earthquake. This is your offering, which is accepted with 
thanks and appreciation. 

" In an extensive reading, I have this distinctive recollection — 
that, be it fire or pestilence, or the elements that causes destruction to 
life and property ; the profession to which you belong always lead in 
the offerings of kindness and charity, and old ocean does not bound 
their benefactions. In many places dramatic entertainments have been 
most successfully given, and large sums realized for the sufferings 
caused by our mysterious calamity. The gifted Irving signals from 
London, and the renowned Booth sends his check to a stricken 
family here. 

"And so the record runs through all the years, and so it will 
continue to be made in the years to come ; and with it too we have 
received something above currency value — it is the felt pulsations of 
warm hearts, which cheers and strengthens all. 

" In accepting your offering, our people will at once recognize the 
kindly voice and the goodness of heart of " Farmer Shingle" and will 
wish that all good fortune attend him in life. 

" Very truly yours, 

" William A. Cotjrtenay, 

" Mayor. 
"John E. Owens, Esq." 

The visit to Charleston, Avith its inevitable excitement 
and agitation, the over-exertion of every hour of his 
stay there, had injurious effect upon Mr. Owens' health. 
When, months before, Dr. Van Bibber rescued him 
from imminent peril, an unusually strong constitution 
enabled him to rally, and respond to medical skill ; but 



JOHN E. OWENS. 291 

the effects of treatment arising from the former mistaken 
diagnosis, had impaired the organs of life, and rendered 
him less resistant to fatigue and harassment. As a 
sequence, he was extremely ill in October. Strong will 
power aided him to overcome this attack, and be up and 
about assuming direction of daily matters. 

Whatever sickness afflicted Mr. Owens, was borne, 
not only heroically, but with a gentle patience perfectly 
marvellous. His own suffering was never so hard for 
him to bear, as the thought of the anguish it caused. A 
noble and unselfish nature was evinced in this, as well 
as every other phase of his life. Recuperating from 
illness, he took up the various threads of business, and 
the propositions for professional engagements were again 
under consideration. Once more we were encouraged to 
believe that he had thoroughly and firmly regained 
his health. This blessed experience of happiness soon 
vanished. 

On the morning of December 4th, 1886, he arose early, 
in the happiest mood, and after breakfast took a walk 
about the farm, preparatory to going to the city. The 
extreme coldness of the weather decided him to defer his 
drive until midday. Like a thunder-clap in a clear sky 
came a terrible change. A sudden hemorrhage from the 
stomach occurred. For many hours life was in jeopardy ; 
but gradually improvement gave hope — almost certainty 
of recoverv. 



292 MEMORIES. 

Thus the symptoms continued until the morning of the 
7th inst, when he fell into a calm sleep which it was 
thought would refresh him. From that sleep he never 
awoke. His spirit passed into the other land, leaving its 
bright reflex on the tranquil and smiling face of its 
earthly tabernacle. 

Of this time I am unequal to speak in detail. The 
mortal remains of John E. Owens rest in Greenmount 
Cemetery beside those of the dear mother he loved so 
devotedly. His genius and talent have given him endur- 
ing fame ; but even more effulgent are his deeds of 
humanity, sympathetic kindness and tender helpfulness 
that are recorded in many hearts. They may not be 
blazoned forth to the world in trumpet tones ; but they 
rise as fragrant incense to the shrine of his memory, and 
from them are distilled heavenly dew that keeps fresh 
and pure the remembrance of his life on earth. 



